The creation of Paul Simon's seminal 1985 album, "Graceland," was fraught with challenges, including navigating the political landscape of apartheid-era South Africa and addressing concerns about artistic appropriation and boycotts, according to Ashley Kahn's new book, "Days of Miracle and Wonder: Paul Simon and the Trials and Triumphs of Graceland."
Simon traveled to Soweto, South Africa, to collaborate with local musicians, including Ladysmith Black Mambazo and the Boyoyo Boys. To circumvent apartheid restrictions and ensure the safety of the artists, Simon had to take precautions, such as concealing himself in the back of a car during his initial arrival. He was invited by South African pop star Sipho "Hotstix" Mabuse, who advised Simon on the necessary safety measures.
Before recording could begin, Simon had to gain the trust of the musicians. They held a meeting with their local union to vote on whether to work with him, wary of exploitation following Malcolm McLaren's prior use of South African music on his album "Duck Rock" without proper credit or compensation. To assuage their concerns, Simon agreed to pay them triple the U.S. scale rate and ensure they received credit on the finished album. The musicians ultimately voted to collaborate, recognizing the potential to expose their music internationally.
Simon also consulted with Quincy Jones and Harry Belafonte for advice on proceeding with the project, given the widespread international boycotts against performing in South Africa. Belafonte supported the idea, acknowledging that Simon, as a white man, could travel more safely within the country. Jones advised Simon to ensure all participants were compensated and willing to collaborate.
Even upon his arrival, Simon encountered an obstacle when a British journalist met him at the airport. South African producer Hilton Rosenthal, who was guiding Simon, struck a deal with the journalist, warning that publishing the story prematurely could jeopardize the entire project and offering an exclusive in return for withholding the story until the album's release. The journalist agreed.
The recording sessions were marked by the realities of apartheid, including restrictions on public transportation and curfews that affected the musicians. Simon noted the difficulty for the artists to concentrate once sunset arrived, awaiting transportation home.
When Simon later brought several musicians to New York for further recording, one of their initial concerns was about registering with the police, highlighting the pervasive restrictions they lived under.
Despite the controversies and the difficult circumstances, "Graceland" achieved significant success. It won a Grammy for Album of the Year and spent 10 months on the Billboard Top 20, becoming Simon's best-selling album. The project also proved instrumental in launching the international careers of artists like Ladysmith Black Mambazo, who have since earned five Grammy Awards. The members of Ladysmith Black Mambazo bestowed upon Simon the Zulu name Vulindlela, meaning "He who opens the gate."
However, following the album's success, Simon faced persistent questions about his decision to record in South Africa during the boycott, with critics raising issues of appropriation and the album's lyrics not directly addressing apartheid. Kahn's book highlights these controversies as a "constant Hydra-like presence." Simon, however, defended the project, viewing it as a significant contribution that highlighted his collaborators' talents and brought their music to a global audience through a different means than direct political commentary.