After Mandela: The Struggle for Freedom in Post-Apartheid by Douglas Foster

By Douglas Foster

Crucial ancient and journalistic portrait up to now of a country whose future will ascertain the destiny of a continent. A brutally sincere exposé, After Mandela presents a sobering portrait of a rustic stuck among a democratic destiny and a political meltdown. contemporary works have centred totally on Nelson Mandela’s transcendent tale. yet Douglas Foster, a number one South Africa authority with early, unheard of entry to President Zuma and to the following new release within the Mandela relations, lines the nation’s complete post-apartheid arc, from its celebrated beginnings below “Madiba” to Thabo Mbeki’s tumultuous rule to the ferocious conflict among Mbeki and Jacob Zuma. Foster tells this tale not just from the viewpoint of the rising black elite but additionally, drawing on hundreds and hundreds of infrequent interviews over a six-year interval, from the views of normal voters, together with an HIV-infected teen residing open air Johannesburg and a homeless orphan in Cape city. this can be the long-awaited, revisionist account of a rustic whose contemporary historical past has been not only ignored yet principally neglected via the West.

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Extra resources for After Mandela: The Struggle for Freedom in Post-Apartheid South Africa

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38.  2. 39. Adrian Thrills, ‘Up Slit Creek’, NME, 8 September 1979. 40. Toynbee, Making Popular Music, pp. ix–x. 41. Ray Gosling, ‘Dream Boy’, New Left Review 1, no. 3 (May–June 1960), 30–34. 42.  26. 43.  25. 44. Toynbee, Making Popular Music, pp. xi–xii. 45.  56–60. 46.  178. 47.  324–325. 48.  180. 49.  325. 50. Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock, 2nd ed.  43. 51.  7–8. 52. See, for example, Steve Taylor, ‘The Popular Press or How to Roll Your Own Records’, Time Out, 2 February 1979; Paul Morley and Adrian Thrills, ‘Independent Discs’, NME, 1 September 1979, p.

95 To draw on such elements, then, often invokes or unsettles particular connotations, as we will see in the following chapters in relation to post-punk’s expansive musical experiment. Music, in contrast to the linear flow of the novel, entails experiencing various signifying elements simultaneously as well as sequentially. 96 We should note, too, that popular music with lyrics actually com- POST-PUNK AND THE POLITICS OF POSTWAR POPULAR MUSIC 27 bines both processes. When analysing songs, it is necessary to investigate not only the significance of placing certain musical elements in synchronicity with one another but also their interaction with the accompanying lyrics.

173.  163.  145–146. ITV’s serialisation of Brideshead Revisited and the ‘nominal’ radicalism of postmodernist art came in for particular stick. See, for example, Jason Toynbee, Making Popular Music: Musicians, Creativity and Institutions (London: Arnold, 2000), pp. x–xii; Keith Negus, Popular Music in Theory (Cambridge: Polity, 1996), p.  151; David Hesmondhalgh, ‘Post-Punk’s Attempt to Democratise the Music Industry: The Success and Failure of Rough Trade’, Popular Music 16, no. 3 (October 1997), 255–274.

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