| Abstract: | Proclamations of the excellence of the film Searching for Sugarman, directed by Malik Bendjelloul, ignore its contrived narrative. The film violently yokes the singer’s South African popularity to the struggle against apartheid. This article argues that the film capitalizes on white South African nostalgia and that the tours subsequent to the film’s release have offered occasions for the performance or endorsement of this problematic phenomenon. Through describing the suburban approbation of Rodriguez’s music in the 1980 and 1990s and the homogeneity of his audiences, then and now, I suggest that the salvaging of his career and reputation needs to be approached, not ecstatically, but in ways that are cautious and qualified. |
