PAUL SIMON--BRIDGING THE CULTURE GAP

In the first essay in Calendar’s new Popping Off series, William K. Knoedelseder Jr. defended Paul Simon’s decision to record “Graceland” in South Africa, and to use South African musicians. Knoedelseder’s commentary, prompted by protests against Simon by students at Howard University, drew spirited response from readers. Here is a sampling of opinion, the overwhelming majority of which supported Simon’s actions. Popping Off is an occasional forum commenting on timely issues in pop music.

I have some preliminary questions for Mark C. Batson, Howard University sophomore pianist and music major:

Have you ever played a Mozart piece for piano? How about a Beethoven? How about a Chopin? Did you worry you were “stealing” music from whites? Where should Simon have traveled to find the cultural texture and richness that inform “Graceland”? Europe? Iceland? Bakersfield?

Music, or any art form, for that matter, must not be stymied by external constraints--racial, political, censorial, or otherwise. The function of the artist is to topple constraints, to open the eyes and ears and hearts of the world. Simon has filled our air waves, our living room, our automobiles with the sounds of black South Africa. Many of us who formerly opposed apartheid on an intellectual level now feel a more profound and spiritual opposition.

Batson not only owes Paul Simon an apology, he owes him a handshake. Both are musicians committed to the same large cause. Stop quibbling over the details.

TRACY ROBERT

San Juan Capistrano