In the early 1970s, Sixto Rodriguez created two albums of abysmal, didactic folk-rock music. Few copies sold, though a few big timers in the music industry regarded Rodriguez's work as fantastic. After losing his contract, Rodriguez vanished into greater obscurity, reemerging to tour Australia in 1979 and 1981. The ruthlessness of the music industry is such that even unprofitable "justice" acts can't be spared cash for long.
Unknown to Rodriguez, a few copies of his work traveled to South Africa. Bootleg copies spread, creating a sensation "bigger than Elvis" among White, multicultural South Africans. Since Rodriguez disappeared, South Africans believed rumors of his death.
In the late 1990s, fans found Rodriguez living a working class life in Detroit, informing Rodriguez of his superstar status in South Africa. Rodriguez then performed before adoring White, multiculturalist crowds in South Africa.
A 2012 Academy Award winning film, Searching for Sugar Man, documented the events, a story so bizarre, skeptical viewers may be excused for thinking the narrative is a ruse, a subtle mockumentary, but, in fact, the story is mostly true.
Now why am I wasting time on this?
Because the film came and went without much comment on nonmulticultural sites, though it has some relevance to understanding multicultural whites. The film gives an unintended lesson in how naive, creepy, and feel good orientated multiculturalism is. The lives of white multiculturalists lack moral purpose, and they vainly try to find purpose in the evils of cultural Marxism. No one in the film stops to say, "This music is cliched demagoguery, lacking hooks."
I wonder how many of those screaming and sobbing Rodriguez fans in South Africa are still multiculturalists or even alive.
The film reminds us how multiculturalism evolves as its power increases. They talk about what they imagine is justice, then years later the justice talk includes far more kill the whites rhetoric and actions.