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Discovering hippies and teen rebellion when 'Searching for Sugar Man'
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Steve Hayes
2013-02-09 07:57:46 UTC
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Discovering hippies and teen rebellion when 'Searching for Sugar Man'
08 Feb 2013 00:00 - Rian Malan

Mail & Guardian

‘You know then,” said Stephen Segerman.

It was last Sunday morning and I’d spent the weekend googling recent
developments in the story of Rodriguez, the construction worker who woke up
one morning to discover he was actually a pop star in a parallel universe
called Mzanzi. I checked his appearances on big-time American TV talk shows,
scanned emotional fan mail on his website and watched several clips of foreign
audiences erupting in standing ovations after screenings of Searching for
Sugar Man, Malik Bendjelloul’s magical documentary about Rodriguez’s life,
death and miraculous resurrection.

Somewhere along the line, it struck me that Rodriguez’s global triumph is
actually a huge compliment to people like me — white South Africans born in
the baby boom, raised on the apartheid moonbase and converted in the Sixties
to the cause of long hair and teen rebellion. The rest of you would not get
it, so I ran my idea past Segerman, who laughed and said: “You know then,”
thereby identifying himself as an ex-hippie of exactly my own persuasion.

As the whole world is now aware, Segerman is the psychedelic music enthusiast
who set out in the l990s to unravel the mystery of the missing Sugar Man.
Rodriguez was supposed to be dead, but Segerman and Craig Bartholomew found
him living in poverty in Detroit’s ruined downtown and brought him back to
South Africa, where he stood dazed and dumbfounded in an outpouring of love
from thousands of fans who had waited decades to see his face.

This scene (shot at the Bellville Velodrome in 1998) is the high point of
Bendjelloul’s documentary. It is the scene that keeps punters going back to
see the movie again and again, the scene that makes everyone cry. And
therefore, by extension, the scene that has transformed Rodriguez’s life out
of all recognition and turned ­Segerman into a local hero.

Strangers accost him on Cape Town streets; his record shop has become a minor
tourist attraction.

“I only go in for two hours a day because it’s just too crazy,” he said.
“Tourists flocking in from everywhere, wanting to buy the DVD and have it
signed. This morning, we also had e.tv and a journalist from South Korea who
was very excited because he was the first Korean to get here and scoop the
story.”

And what a story it has become. Last January, Searching for Sugar Man was
accepted for screening at the Sundance Film Festival. Segerman was there and,
as he tells it, Sony ­Pictures Classics put in an offer before the festival
even opened, based on positive word of mouth from festival insiders. The
producers decided to hold out for something better.

Creating a buzz
At the first official screening, ­Segerman and the Searching team sat in the
front row, chewing their fingernails. The audience laughed in the right places
and fell silent in others, but nothing prepared them for what happened when
the movie ended: the entire auditorium came to its feet, crying and shouting
and so on.

“I was looking back over my shoulder, trying to figure what on earth this
meant for us,” says Segerman. “It scared the crap out of me.”

On the strength of that first reaction, Sony doubled its offer and Searching
started to roll. In the next several months, it won awards at almost every
festival in which it was entered, thereby earning a run at art-house cinemas
in big American cities. Those art-house screenings created a media buzz that
led to appearances on 60 Minutes and The Letterman Show, which in turn caused
reissues of ­Rodriguez’s forgotten recordings to rise into the top 10 on
amazon.com’s list of most-ordered CDs.

New musical interest fed back into the movie and by the end of 2012, Searching
was showing to enthusiastic crowds in 10 countries (including South Africa,
where it is reportedly the highest-grossing documentary in history). Then it
was nominated for an Oscar and the circus escalated to an entirely new level.
“It’s amazing,” said Segerman, who is also co-webmaster of sugarman.org, the
official ­Rodriguez website. “It just keeps gaining momentum.”

Segerman mentions that he grew up in the Jo’burg suburb of Emmarentia. Myself,
I hail from Linden, which is right next door. Turns out, he also misspent his
youth at the so-called Lemon Squeezer, where an avant-garde Catholic priest
staged Friday night rock ’n roll sessions. Back then, Segerman and I were
teenage rebels who thought that smoking dope and defying high-school haircut
regulations made us allies of the oppressed black masses. These days, as
noted, we share the equally curious view that Searching’s triumph is also our
own. After all, we were there at the very beginning, back in 1971, when a
local record label issued Cold Fact, Rodriguez’s debut album. We got it;
Americans did not. Among us, Cold Fact became an instant cult hit. In the
United States, it sank like a stone.

Fashionably leftish politics
Why? Segerman schemes we just had better taste, but I suspect it was a bit
more complicated than that. Rodriguez was writing literate protest songs for
college-educated white Americans whose fashionably leftish politics disguised
a subtle and possibly unconscious form of racism. They expected Mexicans to be
gardeners, maids or mariachi players. Poets were required to be tormented and
pale, in the manner of Byron. They just did not know what to make of a Mexican
Bob Dylan.

We, on the other hand, were too ignorant to be prejudiced, so we opened our
hearts to Rodriguez and our judgement has at last been vindicated. “It’s taken
decades,” said ­Segerman, “but now that Americans are finally listening to the
music, they’re totally ashamed of themselves”. Whereas we — and here I use the
royal “we”, as in we old white hippies — at last have a movie we can be proud
of. More or less.

As far as I am concerned, ­Searching is a bit too eager to impute that
Rodriguez liberated white youth from Calvinist convention, thereby playing a
leading role in the demise of apartheid. American TV talk show host Jeff
Probst, for instance, got the impression that Rodriguez was second only to
Mandela as a freedom fighter. The results, as displayed on YouTube, are
inadvertently funny.

“He was the voice of freedom in a very hard society,” declares Mr Probst,
turning to a South African in the audience for confirmation. “Yes,” says the
South African, a silver-haired ou top of more or less my age. ­“Basically, he
sang freedom, and that is what we wanted.” Jeff turns back to the camera. “It
was music that transformed a country,” he says. “Music that changed a
society.”

Eish! That is exactly what I thought when I was 17 and constantly goofed on
the whacky tobacco. It just is not true. Nor is it true that listening to
Rodriguez made you an outlaw in apartheid South Africa. To be sure, my parents
did not like Rodriguez, but then they did not like any of the music I listened
to. If they had taken an interest, I am sure they would have shared the SABC’s
dim view of certain Rodriguez tracks. One of these was Sugar Man, an utterly
ravishing song about the dark glamour of drug addiction. Another was I Wonder,
in which the singer interrogates a lover about her sexual history — “I wonder
how many times you’ve been had”, and so on.

These songs and some others were deemed unsuitable for airplay on state radio,
but otherwise apartheid’s repressive machinery did not really care.
Rodriguez’s albums were openly displayed in shop windows. Owning them was
perfectly legal and in no sense placed you on the same side as Nelson Mandela.
On the contrary: the ANC was a puritanical revolutionary movement whose
military wing punished dope smokers with whippings. The ANC was also allied to
the Soviet Union and Cuba, where bell-bottoms, long hair and antigovernment
insolence were crushed on sight.

Enormous distance
I must stress that these quibbles are not necessarily shared by Segerman.
(This could be because he lives in Cape Town, where the climate is more
conducive to a Zen-like view.) On the other hand, Segerman and I are as one in
denouncing cheeky youngsters who question the central premise of Searching for
Sugar Man — the idea that Rodriguez could have remained ignorant of the fact
that he was a superstar in South Africa, while we remained ignorant of his
continued survival. This youth cannot grasp the enormous distance that once
separated us from the United States.

Segerman and I could not nip down to the corner shop to buy the New York Times
or Rolling Stone. We could not type “Rodriguez” into Google and instantly
establish his standing. In 1971, we had to rely on our ears and our ears
placed Rodriguez in a pantheon that included Bob Dylan, Neil Young and Leonard
Cohen. It did not seem odd that Rodriguez was invisible in the local media,
because other gods were invisible too; we thought all good music came from
“the underground” and that Rodriguez was just more underground than most.

When he disappeared for good (after the release of his second album in 1973),
some said he had joined a leftwing terrorist group and had gone into hiding.
He was also said to have died of a drug overdose, gone to prison or blown his
head off in a fit of existential despair. In l973, all these outcomes seemed
credible.

Only they were not. As it turns out, Rodriguez was alive, working as a
labourer on construction sites to feed his family, living in a house he bought
for $50 when the US government wrote off its housing stock in Detroit’s dying
downtown. As one does, he gave up his dream of pop stardom when it began to
seem juvenile. In its place came the more prosaic dream of becoming a
municipal politician and using his influence to stem the decline of Henry
Ford’s once glorious motor city. In time, that dream died too and there was
just the slog of brutal manual labour. Rodriguez was well educated and widely
read, but otherwise he was a genuine member of the underclass, too poor to
afford a car or even a telephone.

And then one day, two South ­Africans rang his doorbell and Sixto Rodriguez’s
life turned into a fairy-tale. He was the ugly amphibian, transformed into a
prince by the kiss of a princess. He was also Cinderella and even Arthur, the
boy who drew the sword from the stone and discovered he was really a king. Do
we all harbour a primordial yearning for this sort of salvation? Is that that
why Bendjelloul’s film has touched so many so deeply?

At Segerman’s suggestion, I logged on to Sugarman.org to read messages posted
overnight by fans. There were 42 of them, from six countries. Two or three
came from Americans irked by the fact that they had only just heard of
Rodriguez. The rest were love letters. I mean, listen to this:

“Just seen your movie,” said Keith in Colorado. “I had to fight back tears.”

“Watching this documentary changed my life,” said Clothilde in Paris.

“My boyfriend and I watched the documentary this evening,” said ­Lauren in New
Jersey. “I spent half of it crying.”

“Such a great and beautiful story,” said Rebecca in Los Angeles. “Thank you
for making me happy.”

And so on. This sort of adulation could easily go to a man’s head, but
Segerman said Rodriguez was “the same humble guy as ever”, interested mostly
in securing his three daughters’ futures. He cares less about his himself and
continues to live in the same blighted inner-city neighbourhood depicted in
the movie.

“I live under my means,” he told a journalist the other day. “It seems a good
discipline because you never can tell.”

Ah, yes. There’s a man whose poverty consciousness runs deep in the bones. In
truth, Rodriguez must be fairly rich by now. His upcoming tour of New Zealand
is sold out already. He has been booked to appear at Glastonbury, the giant
British summer festival, and Coachella, its American equivalent. Exact figures
are unobtainable, but Segerman has heard that ­Rodriguez’s reissued albums
(Cold Fact and Coming from Reality) have sold about 200 000 copies in the past
year or so. And the Searching documentary has grossed R54-million, a number
that might double if the film wins an Oscar on February 24.

The Sugar Man is 70 now and increasingly frail. When he takes the stage this
weekend for the first of nine South African shows, someone will escort him
into the spotlight and position him in front of the microphone; Rodriguez has
glaucoma and his eyesight is failing. But the voice is still there and the
songs are still immortal. A year ago, that statement would have been
contentious, but now I think we can take it as read. We old white hippies got
it right: Sixto Rodriguez is, at last, an authentic American legend.

http://mg.co.za/article/2013-02-08-00-recognition-is-the-sweetest-sound
--
Steve Hayes from Tshwane, South Africa
Blog: http://khanya.wordpress.com
E-mail - see web page, or parse: shayes at dunelm full stop org full stop uk
Bob Dubery
2013-02-11 11:15:16 UTC
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Post by Steve Hayes
Discovering hippies and teen rebellion when 'Searching for Sugar Man'
08 Feb 2013 00:00 - Rian Malan
Mail & Guardian
‘You know then,” said Stephen Segerman.
It was last Sunday morning and I’d spent the weekend googling recent
developments in the story of Rodriguez, the construction worker who woke up
one morning to discover he was actually a pop star in a parallel universe
called Mzanzi. I checked his appearances on big-time American TV talk shows,
scanned emotional fan mail on his website and watched several clips of foreign
audiences erupting in standing ovations after screenings of Searching for
Sugar Man, Malik Bendjelloul’s magical documentary about Rodriguez’s life,
death and miraculous resurrection.
etc etc etc

I was "there" when that happened. Let me tell you why most young white
people my age bought that album. It was because of the first verse of
"I Wonder"
"I wonder how many times you've been had
And I wonder how many plans have gone bad
And I wonder how many times you've had sex
And I wonder do you know who'll be next."

Full stop. That's it. An album with a song clearly addressed to a
woman that mentions her sex life and a consequent banning by the SABC.
Skande!

Ownership didn't mark anybody as enlightened or a liberal, indeed I
have often heard another lyric from this album quoted as a support for
Apartheid.
"And don't try to enchant me with your manner of dress
For a monkey in silk is a monkey no less".
There was great excitement about this, it was another way of saying
"you can take the kaffir out of the bush, but you can't take the bush
out of the kaffir".

I was in the army with young white guys who were listening to
Rodriguez. They weren't particularly enlightened or liberal, didn't go
around preaching racial harmony, probably just obeyed orders without
thinking about the system they were defending. 15 or so years later
they would have voted "yes" in a referendum knowing that if they voted
"no" then South Africa's magical ride in the Cricket World Cup would
have been ended there and then.

Yes, the album was a bit of a hit here (and in Australia, let's not
forget). That doesn't mean that anybody who owned it THEN was a rebel
or a reformer or a peacenik THEN.

This is history being rewritten through the rosy lens of nostalgia so
that we can all puff out our chests and claim that we were into
protest music.
Will Dockery
2013-02-20 08:41:23 UTC
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Post by Bob Dubery
Post by Steve Hayes
Discovering hippies and teen rebellion when 'Searching for Sugar Man'
08 Feb 2013 00:00 - Rian Malan
Mail & Guardian
‘You know then,” said Stephen Segerman.
It was last Sunday morning and I’d spent the weekend googling recent
developments in the story of Rodriguez, the construction worker who woke up
one morning to discover he was actually a pop star in a parallel universe
called Mzanzi. I checked his appearances on big-time American TV talk shows,
scanned emotional fan mail on his website and watched several clips of foreign
audiences erupting in standing ovations after screenings of Searching for
Sugar Man, Malik Bendjelloul’s magical documentary about Rodriguez’s life,
death and miraculous resurrection.
etc etc etc
I was "there" when that happened. Let me tell you why most young white
people my age bought that album. It was because of the first verse of
"I Wonder"
"I wonder how many times you've been had
And I wonder how many plans have gone bad
And I wonder how many times you've had sex
And I wonder do you know who'll be next."
Full stop. That's it. An album with a song clearly addressed to a
woman that mentions her sex life and a consequent banning by the SABC.
It was "I Wonder" that grabbed me immediately... I walked into the shop and headed for the used CD bin, kind of in a hurry as it was late and even though this was Atlanta, the little mom and pop used record and book shops mostly close by 7 or 8pm... I was looking to find a good used copy of the remastered Basement Tapes for me and a friend, scan the Lou Reed and Kinks bins for bargains on the out of print but out of demand CDs, thus low priced...

"I Wonder" was playing, and I was grabbed... I continued flipping through dics but couldn't really think about anything but, who is that?

A really young guy who nailed period piece folk folk almost perfectly but with a modern edge and freshness that made it ring so true?

A really old guy who had somehow escaped my fairly obsessed younger ears?

Turns out I don't know my folk rock quite as well as I'd like to imagine.

I Wonder by Rodriguez (1970)


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