Tag Archive: rolling stone


Rolling Stone hits South Africa

By: Iman Adams

With anything new that has a lot of hype around it, people immediately dismiss or criticise it. It was no different when news of Rolling Stone coming to South Africa swept the country. South Africans are naysayers, we like to reject, comment and stick our noses up in the air; especially when it comes to international influence in our music industry. Now obviously, this is impossible to escape, but what I mean is, there is a general annoyance when there is not a South African flavour in our music. With our local music scene struggling already, in terms of press coverage, Rolling Stone just seemed like something else to take the spotlight away from our local artists and turn the South African public to the international.

However, with six issues out already and a sit down with the editor, Miles Keylock, the possibility of Rolling Stone taking South African artists as well as music journalism to new heights, seems all the more likely. Rolling Stone is ultimately about having a passion for music and journalists having a passion for whom or what they are writing about. If this is the crux of the magazine, then I personally, cannot see how they could go wrong.

Miles Keylock as editor means that Rolling Stone SA will be real, raw and South African.Yes, issues of representation are still afloat; wafting about in the air, but Keylock says that representing South Africa, reflecting the demographics of the country is something that Rolling Stone SA deems incredibly important. Ultimately it cannot be about the bourgeois, South Africa is like the man in the street, it must cater for him too. However, whether this is accessible to those in the townships is unclear, but I think right now, Rolling Stone SA should have a chance to find their bearing.

The local focus is fantastic, but with reference to the Paul McCartney issue, international artists are not excluded from the front cover of Rolling Stone SA. Keylock says that they had to give it a try to see how an international would do on the front cover. Apparently, this made no difference in terms of the sales.

Everyday Keylock is hassled by advertisers to put an international band, or a white person on the front cover, as advertisers believe sales increase. Clearly, they are wrong. It’s decisions like these that can affect the integrity of the magazine, but in these situations, Keylock reinforces and ensures the integrity he so intensely believes in, by telling advertisers that Rolling Stone SA needs to represent South Africa.

With Rolling Stone being an international brand, we were all weary of who was making the decisions regarding content. As it turns out, Rolling Stone SA is independent, at least in terms of content. All they have to do is maintain the international standard that is the Rolling Stone brand. We now have an opportunity really to explore artists. Their long-form features provide a space for journalists that are only available in print, only really available in the Rolling Stone SA.

Rolling Stone has always been well-known for their journalistic integrity, independence and of course, the front covers, and these are aspects Keylock seems adamant to uphold. This is not because he is supposed to, but because it is something he truly believes in. He wants honest, heartfelt and passionate writing, he wants the local artists represented, he wants South Africans to know about their musicians, and get excited about them. This is something about Keylock that really sticks out, and when he talks about the magazine, there is an assurance that it will not be industry-controlled bullshit.

So what does an artist have to do in order to be covered in Rolling Stone SA? Keylock says they don’t have to be brilliant; they just need to have an attitude and a way of navigating the way we live. Rolling Stone SA wants to cover the icons with the knowledge and stories that comes from a life of a musician, such as Hugh Masekela and Paul McCartney. They also want to cover the new artists who are coming out and changing the game, such as Die Antwoord and Spoek Mathambo. As long as there is truth, passion and imagination, Keylock is interested.

Ultimately, it is all brand new, there is a lot to be learnt and experimented with, but the main thing is that there is opportunity, there is hope, and there is excitement. We can attempt to drop the cynicism just a little bit, and show a bit of support. From the past six issues, it is apparent that this operation is not a measly attempt at being more like America, or more international, but instead is an attempt to give our artists the recognition they deserve in their own country.

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When Miles Keylock told the class with a wry smile that he didn’t believe in weekends off, the traditional hours of a 9-5 workday, or silly things called “holidays”, his long hair and dark aviators seemed a lot less cool.  I couldn’t help but picture Meryl Streep in “The Devil Wears Prada”–the epitome of the boss from hell.  With his blazer undone, his iPhone aglow in his hand, and his long locks tucked behind his ears, he exuded a rock star personae.  I could picture him standing beside Jimmy Paige at a Led Zeppelin concert, cigarette in hand.

Our professor and music journalist, Evan Milton, had called him in to our class to conduct a mock press conference.  As I prepared my questions in advance, I hadn’t felt intimidated, but as soon as Miles began to speak, I felt the air grow tense.  He spoke quietly, succinctly, but with a conviction that could split steel.  His title as editor of Rolling Stone South Africa began to fully register.  His hands sliced through the air, demonstrating his points and commanding our attention.  I could feel my throat tighten up as I prepared to ask my first question, and felt his somber gaze turn in my direction.  He answered in the same frenzied manner, tossing his hair off his face, before addressing the next question.  As the press conference continued it became clear that there weren’t any horns hidden beneath that long hair.  Instead, I began to see a determined man, bent on the pursuit of genuine and heartfelt journalism.

As students began to ask Miles more questions, ranging from the challenges of being an editor, to the process of choosing the image for the cover of Rolling Stone South Africa, Miles’ commitment to music journalism became clear.  Clearly his assertion about giving “360 degrees of dedication” to his job was not an exaggeration or a publicity stunt.  Although his work ethic goes unquestioned, Miles sets himself apart by staying true to his earliest conviction of using journalism to document genuinely interesting stories.  For him, this comes in the form of local South African music.  Miles talked at length about navigating the complicated terrain of the relationship between USA’s Rolling Stone and Rolling Stone South Africa.  Surely, his magazine has many ties to its father publication, but Miles made it clear that he was more interested in discovering the stories that have never been told.  Rather then just appealing to popular demand and reprinting the headlines of USA’s Rolling Stone, Miles tries to capture the essence of South African music.

Several times Miles made the distinction between successful bands and bands with interesting stories.  International success and sell out venues does not guarantee a profound story.  Miles looks for artists that, “are after the present”, rather then artists who coast off their economic success.  For Miles, these artists appear in unlikely places, such as rural villages and townships scattered across South Africa.  This realization has led Miles to attempt make his publication “a voice that is representative of an entire cultural landscape.”  It’s a lofty goal.  Yet, one would find it difficult to find a man more devoted to representing music in its truest form.  When business executives encouraged him to put international celebrities on the cover page to increase sales, Miles resisted, pasting South African artists on 6 out of the last 7 covers.  Even when advised to place Caucasian men on the cover more frequently, Miles resisted again, saying, “We have a moral responsibility to portray South African music.”

As the press conference began to wind down, I started to detect a central theme in Miles’ answers.  Rather than focusing on the business aspects of being the editor of Rolling Stone South Africa, Miles repeatedly emphasized the crucial characteristics of good writing.  In his eyes, good writing was directly connected to the truth: “Are you writing from the heart?  If not it will eventually tear away from your soul.”  Being inauthentic does not produce good writing because readers can feel when an author’s article lacks depth and feeling.  Miles’ most important role as editor is not to point out run on sentences, direct the course of the piece, or even to select the story.  His main goal is to encourage writers to find their voices, and to write stories that explore unseen topics with compassion and curiosity.

Now the dark aviators, the shoulder length hair, and the unbuttoned blazer seemed more like the clothes of a hopeless romantic and less like the uniform of a crazed boss.  At the core of this man is a teacher.  In his electric eyes I could detect a quiet look of content.  I saw a man who has combined his two passions in the world, music and writing.  I could also feel his desire to spread these passions to anyone who is willing to listen.  After this press conference, I’m sure he’s gained a few more listeners.

By Duncan Lowe

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Passionate About the Write Things

Inez Patel

 

Starting off with ‘Bra Hugh’ as the take-off cover, this has been a magazine that represents the diversity and talents of the South African music industry. This is the kind of media that our country will benefit from: passionate and interesting pieces of work that encourage the consumption of South African products. Editor, Miles Keylock, gives some insight into the magazine and how they manage to live up to the reputation of the Rolling Stone name and yet still maintain a local focus.

Considering that there are sixteen Rolling Stone magazines produced globally, such as Rolling Stone Brazil or Rolling Stone Japan, Rolling Stone South Africa has quite a substantial status to live up to. Especially with the success of the American Rolling Stone, that according to Miles employs some of the world’s best writers and photographers, this magazine has a large name to follow. When asked how he gets the magazine to fulfil its international parent’s legacy, Miles emphasized the need to create a voice that is representative of the diversity and wonders of our own country. He articulates that it is not about being parallel to the American magazine but rather about being a production in its own right, using South African content and stories. As Miles says, there are “very few global artists that are striking for South African sales” and so that is why the magazine places such a large emphasis on local content.

Rolling Stone has always been known for its legendary covers. With the first being a “pure coincidence”, according to Miles, in getting the talented trumpeter Hugh Masekela to be on the initial cover page. Miles smiles as he remembers the moment that he knew Hugh would be the perfect first cover. Apart from being an iconic South African musician that “embodies the Rock ‘n Roll spirit” of the magazine, Miles says, it was Hugh’s vibrancy and powerful performance which immediately told him that “this is our rock star”. It is inspiring to know that the magazine really does take into deep thought what embodies their magazine and how to show this well. Since that day, Rolling Stone South Africa has always embraced that wild and free ‘rock ‘n roll’ spirit. That is what it takes to be on the cover, “you don’t have to be a brilliant artist to get into Rolling Stone”, says Miles, you only “need to have an attitude”.

The most recent issue had Spoek Mathambo on the cover. As Miles speaks about this young artist, his enthusiasm is obviously visible. Although why wouldn’t it be? Miles describes Spoek Mathambo as a “young artist who has given his art so much time in terms of thinking about what he’s doing”. As someone who has a fascinating story to tell; who has created a space where he has found his voice, it is clear why Miles agreed to putting Spoek Mathambo on the latest cover. He, like Hugh Masekela, is an image of what Rolling Stone is about. A magazine that puts a large emphasis on local artists that have interesting stories and an attitude that is bold and creative. Miles mentions how a lot of advertisers put pressure on the magazine to put sexy women and white people on the cover because those typically are better for sales. “Integrity can very easily go out the window”, says Miles, but once again he always tries to stick to his morals and put genuine people on the cover and not stoop to lower levels of commercialized advertising. Miles states very firmly that “Rolling Stone is about integrity”.

Listening to Miles, the Editor of Rolling Stone, really makes it seem as if the South African media industry is something to be proud of. Not only does Miles expect a lot from the artists that he features, he also expects a high quality of work to come from his writers. He mentions what an honour it is to be able to work with great writers such as Rian Malan and Evan Milton. Writers that have a “360 degree commitment” in that they are able to express themselves in a personal and honest way. The stories in Rolling Stone are about getting to know the artist and hearing what they have to say. Being able to answer “pop cultural questions that the man on the street asks” and thus being a magazine that is easy to relate to by a broad audience. It is not difficult to see that Miles is very much a believer in passionate writing and writing with story to share. As clichéd as it may sound, Miles affirms multiple times how important it is to “write from the heart”. He mentions how it is very easy to know whether you believe what a writer is saying or not, and Rolling Stone is a magazine in which he genuinely works hard to create a layout of sincerely written and engaging stories.

The future of Rolling Stone seems very bright and full of possibilities for even greater success. In such a technological society, the fear that traditional print media is being replaced by online content is a significant issue. However Miles is adamant that this is not where Rolling Stone South Africa is headed. It is a magazine that tries to “keep it as real as we can” and this would not entail having readers scanning over online articles in a superficial manner. The most important part about the magazine is for readers to feel a part of it, which cannot happen online because articles are “designed for print”. It is a comfort to know that there is still hope for actual print media, as it is hard to compare reading something online to holding a tangible book and actually engaging thoughtfully in the process.

Miles Keylock was a surprising speaker. It was somewhat unexpected to hear such honest and energetic responses. In turn, it felt as if one was really able to get to know Miles on an everyday level and as a result really believing the things he has said. His passion for writing, music and the magazine is moving. Having such a passion for the ‘write things’ might just be what this country needs to become even further immersed within and supportive of its diverse bowl of talents to show and stories to tell.

Through the decades Rolling Stone magazine has mapped the progression of pop culture- music, film and even politics. Transcending racial and economic boundaries, Rolling Stone has always been famous for its journalistic integrity. But in an era where digital is the new black and online publications are fast becoming the norm, why would Rolling Stone launch a South African version of the publication?

On the 15th of November 2011, the first issue of Rolling Stone, South Africa was released. With an American gangster look, Bra Hugh (Masekela) was the first icon to grace the cover of the new publication. Visionary and full-time music journalist Miles Keylock heads up the endeavor as editor-in-chief. With massive pressure from the public to achieve the international standard of the parent publication, Rolling Stone, South Africa has a large pair of shoes to fill.

Now seven issues in, the publication has stuck to its classic old-school layout, letting the words and poignant photography speak for itself.

Since the dawn of the online era one significant question has arisen.  Why should we bother paying money for a magazine when we can simply find what we want with a few words, a Google search tab and an enter button?

For starters the typical online publication robs fans of the experience of owning a freshly pressed magazine packed with information waiting to be discovered.  Any Tom, Dick or Susan is one click away from being a writer online. Print publications give a sense of professionalism and credibility that cannot be established online. Rolling Stone, South Africa fills its pages with articles, news and reviews written by plausible journalists who hold a name for themselves in the South African media industry. People know that what they are reading is as real as it gets.

Although the magazine has an online sector, the meaty bits remain to be hidden in the pages within the plastic seal of the monthly issue. Music lovers around South Africa will wait in anticipation to discover the latest songs and musicians they should be listening to.  Rolling Stone strives to encapsulate great journalism with substantial opinions, criticism and recommendations that will shape and form the local idea of what’s in and what’s out. This niche publication becomes the all inclusive go-to guide that fans can keep in their homes and refer back to at any time.

Online is instant. You click and scroll, straining your eyes to find the important information- it’s all about immediate gratification. Most articles that you find online you will find yourself skim reading. In truth, no one wants to curl up on the couch with a cup of coffee and an online article to get stuck into. Rolling Stone and other equally superior print publications provide the reader with an experience.

It is just the same in the way that live music will always supersede its recorded counterpart. Why? It is a far more authentic and all-inclusive sensory experience.  Print magazines are somewhat the live performance of their online rivals. They offer something you can see, feel and smell- the opportunity to own something genuine.

Rolling Stone, South Africa sets the bar for all music and non-music publications alike. It sets itself apart from the rest. It will always attract the real music lover, the person who is drawn to the old-school style that is permeated through the publication. It provides satisfaction to those looking to read words worth their time.  It is what many people really want and will continue to want even through the current digital revolution.

So why South Africa? Why Now? Over the years the South African music industry has slowly started to infiltrate the international scene. With a growing sense of local individuality, great music has begun to emerge from a country that has long been seen as the underdog of the talent world. The rising original and authentic styles and talents deserved a publication to match. The royal family of Zef, DIE ANTWOORD is the pinnacle of both local and international success. GOLD FISH have played there tribute in Europe along with other local artists who have begun to expand their scope to international audiences.  In a way it became necessary to have a substantial compendium of international and local artistic trends.

So the question remains. Will print publications become redundant in the current mass interweb hysteria? How could it be when fans will continue to flock each month to engage in the Rolling Stone authentic experience? Despite the rise of online publications, the desire for dependable journalism and an influencing read will not come to an end.  Rolling Stone South Africa is the proof in the pudding. 

When we don’t know which latest trend suits us best, we always return to the trusty LBD forming the backdrop of our closet. We are indeed creatures of habit. When clicking around on the internet has us confused on who to listen to and what to watch we will always have the classic Rolling Stone, South Africa to turn to. In a recent press conference editor-in-chief Miles Keylock assured us- Print is not dead…and we don’t think it will be any time soon.

 

Rolling Stone has come to South Africa, and hey presto, we now have our own cool music magazine to represent our own cool music scene. But will it? I mean, come on, this is South Africa; a land that is a boiling culture cauldron, bubbling away, with all the numerous and diverse cultures swirling together as a big pot of tasty soup.

Rolling Stone is such a ‘cool’ magazine. It just can’t stop oozing sex appeal and glamour as well as being so full of the hard-core, honest rock n’ roll that the international reader loves. This magazine is drenched in legacy to the point that it’s practically running of the sides.  And now it has come to South Africa, it is sitting at the airport waiting to be picked up, and here is the driver; Miles Keylock.

Keylock seems to be the best man for the job, his suave ‘come at me attitude’ and concrete portfolio make him the person to marry South Africa and the Rolling Stone brand, making a match seemingly made in music magazine heaven. All eyes are on Keylock, we want something just as sexy and rock n’ roll as the original Rolling Stone, but with all the tenacity that South Africa has to offer. The only thing is South Africa has a whole lot more to represent than just tenacity.

Can Rolling Stone South Africa really keep each vegetable, each piece of meat and each salt grain in the tasty soup happy and represented? Or are we just going to have a magazine which ignores the diversity part, instead edging to stay politically correct, or economically afloat?

No one can answer this question. It’s not easy, considering how difficult South Africa is to represent culturally, since, as I said before, we are tasty in our diversity. With such a wide range of people, from varying backgrounds with different stories, loves and interests, people who listen to fundamentally different music, and then having to represent all of that, I must say, no one can really envy Keylock’s job.

He has to manoeuvre the difficult mine field that is political South Africa, driving his magazine through all of the South African social and political tensions, without falling to a flat tire. It is not as if the American brand of Rolling Stone doesn’t have this problem, but it is a whole lot different they didn’t have something to look up to, or the diversity of this country to represent.

Sitting down with Keylock, you could feel the weight of expectancy on him, and physically see it. We stared at the man who would either be the saviour of our expectations, or who would steer Rolling Stone into obscurity, and we all knew what everyone wanted to ask; what are we to expect Miles?

we got this,

‘sometimes I get these guys saying ‘please put a white person on the cover’. No, I’m just kidding. But it feels like it really can get like that… we need to just understand that it is about the integrity of the music – that rock n’ roll spirit’

We are so easily lampooned into worrying whether the magazine would represent South Africa or not, that we forgot that it is not here to do that – it is here to represent South African music. Whatever this means in terms of demographics or political/economic interests, Rolling Stone is a music magazine and it will follow the integrity of music, and the integrity of writing about music.

Rolling Stone SA will represent the icons, the new interesting sounds that are coming out of South Africa and communicate that to its readers. Yes, as a magazine and business venture it must keep afloat and we know about the political tensions, we know about the economic hardships and social injustices of our everyday life, but we need to allow Rolling Stone the place to just show music – all music. Music that is free of politics, money or society. After all Rolling Stone is about the spirit of Rock n’ Roll, which Keylock through Lester Banks thankfully reminded us off,

“Rock ‘n’ roll is an attitude, it’s not a musical form of a strict sort. It’s a way of doing things, of approaching things. Writing can be rock ‘n’ roll, or a movie can be rock ‘n’ roll. It’s a way of living your life

I don’t know if Rolling Stone SA will be successful, and I don’t know if Rolling Stone SA will be able to hear all the music. But I do know that as a music magazine, Rolling Stone South Africa will represent the music made here, not the politics. And after hearing Keylock reassure me, I can rest easy knowing that he is stirring the pot, with a big wooden spoon.

And the Stone Keeps on Rolling

By: Tendani Mulaudzi

When I heard that Rolling Stone was launching a South African version, a few things immediately sprang to mind: So You Think You Can Dance South Africa, Survivor South Africa and Who Wants to be a Millionaire South Africa. These South African copies of international shows are of amateur quality compared to their originals. If I had to choose between a copy of the British Elle and South African Elle, I would grab the British version without hesitation (regardless of the fact that I wouldn’t be able to get hold of any of the clothes, much less afford them). “Obviously Rolling Stone SA is going to be a failure,” said the silly, naïve me. “I mean, there are like hardly any famous South African musicians. They’ll probably have to recycle cover stars like twice a year.”

Interacting with Miles Keylock in a press conference made me feel ashamed of the words that I had said about the magazine. Not only is Rolling Stone SA an enriching magazine that’s definitely worth the read, I think that the American Rolling Stone could learn a few things from our version.

I must admit, I was not the biggest fan of the international Rolling Stone to begin with. But in order to compare the two magazines to each other, I had to do some research. When I googled “Rolling Stone covers”, I found several pages of different covers. Sadly, I could recognize every face. The artists on the covers had all made it to the ‘big time’. They were as commercial as a musician can get, regardless of their genre. Making the cover of Rolling Stone is HUGE for artists; it could be considered the peak of their career. That’s all good and well, but what about those not-so-well-known artists that have a story that’s worth telling?

This is what sets Rolling Stone SA apart and what makes Miles Keylock such a great editor. Hugh Masekela, Zahara, Miriam Makeba, Paul McCartney, Spoek Mathambo and Die Antwoord have rightfully been on the cover artists of Rolling Stone SA. Not all of them are of commercial status and have made the big time. An artist doesn’t need to be super famous to be on the cover, just extraordinary: musically and personally.

Don’t agree? Well, think about it. Hugh Masekela is simply a living legend, or as Keylock explained, “This is the biggest rockstar we have.” Zahara, as Keylock puts it, has music with a message. “Her songs are rooted in decades full of history and she sings songs of hope,” he said. Spoek Mathambo; now that’s a name many average people haven’t heard of. And average they will remain, until they hear what this artist can do. I first came to hear about Spoek Mathambo collaborating on a song with one of my latest obsessions, PH Fat. Spoek got my attention immediately. Miles Keylock’s attention was also stolen by this up-and-coming artist, “Spoek has given his art so much time in terms of thinking… He has found his voice and is going global.”

All these artists have interesting stories to tell but the writer is the one who has to fully articulate the musician’s story. As readers, reading the same old thing with a change of names can a get a little boring. As an editor, Keylock doesn’t want to have bored readers. It works out perfectly. Rolling Stone SA is all about writers who write from their heart. Keylock says, rather factually, that if a writer does not write from their heart, “it will eventually tear away at their soul.” A writer needs to have passion to write for Rolling Stone SA and if they have none, this will prove to be a problem.

An example of a brilliant piece of writing that has featured in the magazine is the article in the form of a love letter to Miriam Makeba by Bongani Madondo. This piece defines writing from the heart. It is personal but not boastful; it is poetic; it is a tribute to an incredible artist. If there is one Rolling Stone SA article you should read, I highly recommend this beautifully written one.

Rolling Stone SA is a magazine that informs, entertains and intellectually stimulates. It has proven my initial assumptions wrong in many ways. There are so many talented South African artists that haven’t been given the recognition they deserve yet. Rolling Stone SA does this for them. It also tells the stories of musicians that are famous already but still have so many interesting aspects to them we are not yet aware of. It is a magazine by South Africans for South Africans; it doesn’t try to put as many internationally-related things as it can into the magazine to get more sales. It doesn’t care if a musician is white or black, coloured or indian; if the artist unique and talented, skin colour doesn’t make them any more worthy of being featured in the magazine. Rolling Stone SA wants to tell the stories that haven’t been told, and believe it or not, there are so many we have yet to hear.

Musical Magazine Represents Locally

BY GRAY KOTZE

Recent times have dictated that our collective use of the suffix ‘ation’ has increased to terrifying proportions: globalisation, Americanisation, industrialisation, urbanisation. The only ‘ation’ which is largely maligned in the rhetoric of today is that of the ‘nation’, a nation which acknowledges real aspects of its own culture. Although in South African society we are bombarded with shells of ‘nation-building’, the acknowledgment of our local culture – particularly musical – has been greatly ignored; and, instead infiltrated by a more international, predominantly American-based, culture. Miles Keylock, the first editor-in-chief of South Africa’s very own Rolling Stone, hopes to divert the county’s musical attention back to where it belongs: itself.

“We are trying to create a voice which is representative of the entire South African landscape, and represents the country’s demographics.” This is Keylock’s vision of the magazine, which has survived half an annum since its inception. He hopes to build the magazine in its own right, rather than merely produce a copy of its American counter-part – with a hint of The Parlotones thrown in for good measure. So far the periodical publication has inhabited this expectation very well, by casting a critical eye over a large range of South Africa’s cultural and political environment.

The magazine’s renowned cover has also reflected this local focus. Keylock chuckled that the only people who could knock a national artist off the cover of their indigenous Rolling Stone were members of the Beatles; a joke, but also a reality, as Paul McCartney is still the only international artist to be emblazoned upon the cover. Keylock feels that the placement of local performers on the publication’s outer layer was better than submitting to advertisers’ calls to “slap Beyoncé on the cover because she is top of the charts.” Rather than bow down to the musical colonisation by America, he wants to truthfully “represent the musical talent and untold South African stories.”

An archetypal cover-example of the publication’s attempt to display real, in-depth stories about the nation’s tonal talent is that of young songstress Zahara. Zahara, although not being an overly technical musician, perfectly illustrates the musical attitude which Keylock feels is important. “Zahara shows that you don’t have to be a brilliant musician, but you have to have an attitude.”

Jazzy stalwart Hugh Masekela’s embodiment of that same attitude earned him the converted spot on the magazine’s first cover. Keylock describes how, after seeing the 73-year-old’s “vibrant and sexed” performance at a recent Johannesburg jazz festival, he was the only real candidate for the debut cover. “This is our rock star; the biggest rock star that we have. He is a guy who embodies the rock ‘n’ roll spirit.”

“Hugh Masekela’s connectivity with the youth embodies the ethos that Rolling Stone South Africa wants to embody. He is an icon, with knowledge to share.” That knowledge, in whatever temporal space it is located, should help provide some answers to the many questions that South Africans face. Masekela, in the Rolling Stone article which was also written by Keylock, provides a critique of issues ranging from the socio-economic effect of alcohol on black South Africans, to his current musical views. In this manner, Keylock feels that Rolling Stone addresses questions of the past, present and future, which many South African’s should be asking. “South African’s don’t ask enough of these questions.” He said, “[These questions] are not academic, but popular culture questions, for the man in the street.”

Keylock cites the question “How do I live in this strange place?” – posed by Bernoldus Niemand from his culturally and politically challenging Wie is Bernoldus Niemand? album – as being a prominent concern for his magazine’s articles. This is a question which has long circulated the South African landscape, and one that Rolling Stone aims to find the elusive answer for, through honest and sincere stories that try to enkindle a personal response within the reader.

Within the multifarious musical terrain of our country, these stories, about local artists with a rock ‘n’ roll attitude, are in no danger of running out. So far Rolling Stones’ articles – which have dealt with musicians ranging from new-age, Afro-beat rapper Spoek Mathambo to vastrap, sokkie-groovers Klipwerf – have only skimmed the surface of South African musical culture. “Rolling Stone presents the possibility to start something new and see what happens”, says Keylock. A drive to delve into the roots, as well as the present, of the local music scene, and uncover their untold stories is what this musical magazine represents. With the decreasing mainstream focus on South African music, the infant Rolling Stone presents a new avenue which addresses this concern. “We’re only scraping the surface,” announces Keylock, “We’ve planted the seed of what is possible.” Now only time will tell whether that seed will spread amongst the South African cultural consciousness.