FROM ROCK 'N 'ROLL TO HARD CORE PUNK - UKZN ...
FROM ROCK 'N 'ROLL TO HARD CORE PUNK - UKZN ...
FROM ROCK 'N 'ROLL TO HARD CORE PUNK - UKZN ...
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124<br />
Police interference in both punk concerts and those at which The<br />
Usuals played most certainly occurred, and was usually in the<br />
cause of curfew regulations. The manner in which curfews were<br />
enforced, however, brings into question the real motive behind<br />
police presence at concerts. Richard Ellis remembers ,an incident<br />
when the band played three minutes over their midnight curfew on<br />
a religious holiday, and were subjected to a number of police<br />
entering the venue and kicking over drums and equipment in the<br />
effort to enforce the curfew! This kind of abuse could only stem<br />
from a deeper ideological conflict which, in a politically<br />
charged atmosphere, came to the surface. The fact that The<br />
Usuals' music defied apartheid divisions, and spoke out blatantly<br />
against the system was surely a better cause for police<br />
interference than the petty violation of a curfew. Although such<br />
a statement cannot be proven, it certainly has some merit.<br />
The fact that reggae rhythms formed much of the basis for The<br />
Usuals' sound, was not incidental. It is true that reggae was<br />
enjoying worldwide popularity in the early 1980s, and therefore<br />
it was not an entirely new sound in South Africa. The fact that<br />
The Usuals were an all-white band, however, made their use of<br />
reggae fairly unconventional, since most white bands at the time<br />
were either punk, new wave or mainstream rock. Reggae was very<br />
much a politicised music, one which represented a struggle for<br />
freedom and a confirmation of black identity. Thus its use in a<br />
apartheid-ridden South Africa by an all-white band could be<br />
viewed as potentially explosive, and should be treated with<br />
particular interest.<br />
As has been mentioned, The Usuals superimposed many musical<br />
layers on top of its reggae foundation, and thus created an Afro<br />
rock-reggae sound which was quite unique. An example is <strong>'N</strong>o Great<br />
Shakes' off their Law of the Jungle album. <strong>'N</strong>o Great Shakes' has<br />
an Afro-reggae feel with which one cannot help but link with the<br />
urban black musician. His presence is communicated through the