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98 Thus, the South African regime came under tremendous pressure, on both the local and international fronts, and it was hoped that such pressure would force the State to capitulate and grant equal rights to all South Africans. Unfortunately, this was not the case, and the regime fought back even harder by passing the General Laws Amendment Act on May 1st 1963. This law, otherwise known as the '90 Day Act' empowered the police to detain anybody without trial for a period of 90 days, and to renew the period at the end of those 90 days. Thus, in effect, the law provided for indefinite detention without trial. Hundreds of detentions followed, with detainees often being held in solitary confinement, tortured and interrogated with no legal counsel present. Many died in detention, while others mysteriously disappeared, never to return to their families. This was one of many unfortunate blows for the liberation movement, and before long most of its leaders were in prison or under house arrest in a very effective effort to stamp out any form of resistance to the institutionalisation of apartheid. Ironically, the serious setbacks inflicted on the resistance movement boosted the South African economy since foreign investors no longer feared an impending revolution. Big American companies (such as the mining company, Engelhard Corporation) invested large amounts of capital in South Africa, and thereby encouraged other investors to do the same. By 1965, foreign capital was once again flowing into South Africa where cheap black labour assured it of huge profits. Furthermore, during the post-Sharpeville crisis, Afrikaner monopoly capital grew. When foreign capital withdrew from South Africa immediately following Sharpeville, Afrikaner companies took advantage of the opportunity to buy cheaply and on a large scale in industries which were originally dominated by foreign or English-speaking South African investors (such as Gencor 3 ). Thus the ties between 3 Gencor (General Mining Corporation) was sold cheaply by Anglo American Corporation after the Sharpeville massacre.
99 government and big business were firmly and conveniently cemented to create an Afrikaner economic and political monopoly in South Africa. Apartheid and Identity.in Relation to White Rock Musicians White South Africans, both English and Afrikaans, found themselves in a privileged position. White teenagers in the 1960s grew up in a protected, conservative environment in which the separation of race groups was an accepted norm. In many cases, white teenagers who played in rock bands came from middle and upper-class homes 4 and never came into contact with teenagers of other races, since schools were also segregated. Thus, it is not surprising that they did not write songs which expressed socio-political opinions. A distinct depoliticisation in terms of what apartheid actually meant for all people in South Africa was the general experience of the white youth of Durban. Although most white South Africans were oblivious of the atrocities occurring in black townships throughout the country at the hands of the South African Police and South African Defence Force, they were) well-versed in the 'swart gevaar' (black danger) ideology. This ideology promoted by the government in the cause of racial prejudice and fear. This policy bred an inherent mistrust and fear of blacks in the minds of white South Africans, and went a long way in dividing South Africa along the lines that apartheid had construed. Another ideology distinctive to the Nationalists was the 'rooi gevaar' (the red/Communist danger), which fuelled fear of socialism and victimisation of organisations which favoured its principles. Interviews conducted with white musicians who were performing in Durban's first rock bands revealed that many if not all of them were blissfully unaware of the violent political conflict taking 4 Rock mUSlClans from this era grew up in the typical, privileged 'white' suburbs of Durban. e.g. Durban North; Westville; Hillcrest; Morningside; Pinetown.
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Lindy van der Meulen FROM ROCK 'N '
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ABSTRACT This thesis introduces the
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INTRODUCTION Reasons for Research T
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Thus, my twenty year period spans a
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Theoretical Perspectives Broad Theo
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13 rock musicians. Although I never
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18 a culture not different from my
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Chapter 5 20 Chapter Five addresses
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22 The line-up of the band went thr
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24 Africa. Although South Africa (o
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28 venues opened up in Durban which
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31 'sessions', and therefore were i
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33 bills. The separation of populat
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36 a 'golden decade' of opportuniti
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38 would give to South African pop
Page 56 and 57: 49 have caused Durban rock bands to
Page 59: 52 During this period, the scope fo
Page 64: 43 57 If you make a jigsaw puzzle,
Page 69: 62 members. This did not seem to af
Page 78: 71 Durban Rag concert in early 1984
Page 82: 75 Usuals played mainly reggae and
Page 85 and 86: 78 The streetrockers played a comme
Page 87: 80 greatest gift to song - the orga
Page 90 and 91: Figure 3. 83 The Mods From left to
Page 92: Figure 5. 85 Young Fan in a Paper F
Page 95: Figure 8 (please turn over). 88 Cro
Page 98 and 99: Figure 10. 90 Wild Youth and Fans i
Page 101 and 102: Figure 13. 93 Powerage From left to
Page 103: 95 CHAPTER 3 ROCK MUSIC IN DURBAN I
Page 109 and 110: 101 Britain, Durban youngsters stro
Page 114 and 115: 106 changing. We were lucky. We cam
Page 118: 110 Nothing really changed I'm glad
Page 123: 11 5 The Workers' resistance moveme
Page 127 and 128: 11 9 a final attempt to regain cont
Page 129: 121 Another song entitled 'System'
Page 133 and 134: 125 use of a maskanda-like guitar r
Page 138 and 139: 130 CHAPTER 4 WOMEN AND ROCK IN DUR
Page 140 and 141: 132 relationship of women to the ge
Page 142: 134 in the workplace [or band] .dO
Page 145: 137 family and band life. In practi
Page 153 and 154: 145 music and bitterly resented the
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148 participate more actively in ro
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..' 151 played by men (bass, electr
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Conclusion 153 This chapter has exp
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and when 156 less formally organize
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159 South Africa). Durban record co
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161 of Warner Brothers) and EMI. Th
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163 Independent Record Companies an
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165 local rock was inferior. Accord
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170 strike one as particularly ente
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CONCLUSION 173 CHAPTER 6 This thesi
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2 Cullen, J. 'Bruce Springstein's A
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4 Martin, D. (tiansl V. Morrison),
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Newspapers and Magazines The Daily
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8 ________• 'Love You A Little Mo
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Interviews 11 Baney, Brian, A Stiff
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13 11. Leopard, 'Underestimator', f
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