a superpower cannot control a territory where it fails to win the hearts and minds of the people.
and unlike in Vietnam, Mandela was not a commie. What’s ironic in the South African situation is that in the 50’s, black SAfricans thought that American Culture was God. They changed it of course to reflect the local realities and all that jazz, but the influence was singular. White SAfricans had to deal with mixing together the Brit and Yank influences, a bits 'n pieces appropriation, and they paid little attention to what was going on in their own black yard, while the Boers were off on their own pluck, but later when culture became propaganda it was a whole other story for all groups.
Sophiatown Doo-Wop - the Manhattan Brothers
By Struan Douglas
Sophiatown was a diverse and flexible working-class suburb. There was a
sense of community, vitality and vigour. It was naively hopeful and
indestructible, coupled with a tremendous variety, stimulus, diversity,
and excitement. Musicians, artists, politicians and boozers revelled in
this environment of sharing and cultural explosion - in its tragedy,
drudgery, thrilling frenzy and triumph.
And with all these emotions, music was the thread of life - the expressive
scream calling out against the inequities and inadequacies, the
unpretentious harmony, the frivolous dance moves, the style, panache
and the American influence - in its speed, its fashion, its arrogance.
The Manhattan Brothers were the incarnate of all of this. They fashioned
themselves on the hip and erratic American jazzers, yet, as in the true
South African manner, they reinvented what they were doing and added
their own distinctive personality.
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