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158 links with Britain. Thus, it becomes clearer as to why so many English-speaking South African musicians played cover versions of British chart-toppers. Playing cover versions was a way in which they could enter their imagined 'overseas' community, and assert their links with their home environment. In the above quote Muller also hints that the imagined community of English speaking white South Africans extends to all British colonists worldwide. White English-speaking South Africans therefore belong to a global community of colonists which communicate their identity through the consumption and reproduction of British musical products. It should be remembered that rock musicians use covers to hone their skills, and that imitation of successful rock bands is an important step in the musical learning process. Playing covers in itself, therefore, cannot be equated to a lack of identity. In fact, in Durban there was little opportunity for rock musicians to become proficient since there were almost no exposure to rock music in schools. Thus the playing of covers provided an opportunity for musicians to learn how rock music worked. However, the pervasiveness of this trend in early Durban rock bands suggests that an identity problem could be distinguished. Early Durban rock bands wrote little of their own material, and preferred to play British chart-toppers instead. This is indicative of the degree to which the youth of Durban looked elsewhere for models to imitate, rather than building their own distinctive sound and culture. It has been suggested in Chapter Three that by looking elsewhere for meaning, English-speaking white youth also avoided the shame of being labelled as South African. In the light of the fact that Natalians voted against the republicanisation of South Africa in 1961, this subconscious loyalty to Britain as a source of identity is understandable. In addition, the Woodstock event in 1969, captured the imagination of music promoters, musicians and fans in Durban (and
159 South Africa). Durban record company owner, Dave Marks attended Woodstock, and this proved inspirational in his subsequent organisation of music festivals in South Africa. The numerous festivals and large music events of the late 1960s and early 1970s in South Africa, as well as the Academic Freedom and Free Peoples Concerts in the late 1970s and early 1980s although an imitation of international trends, were important for the development of a definitive rock 'scene'.in Durban and elsewhere in South Africa. Competitions such as the annual Durban Go! Show in the late 1960s and early 1970s attracted large crowds, and created a space for musicians to perform and be rewarded. A pride in local bands is definitely distinguishable in the early years of rock music in Durban, with the Daily News creating a specifically youth-centred weekly supplement entitled 'Trend' in the early 1970s. 'Trend' sustained interest in local music through weekly interviews with new bands, record reviews of local music, and feature articles on local bands. Paradoxically, it also carried a column featuring a London correspondent who kept Durban youth updated on the latest British trends in music, fashion and events. Muller also cites the importance of Bandstand Magazine as an example of 'English-speakers' construction of self and place through musical production and consumption': In a single plane, of the single page, you have discussion of musical performances in England writing about theatres and places in a way that assumes everyone can immediately visualize the music theatres and performers as if they were there in person; the discussion of jazz and the latest film releases shifts to the USA; and then local musical performances and performance issues are discussed. This is a very real manifestation of the White English Global Identity. The links between Britain and South Africa are reinforced through tables that compare British hit parade with South African. What is remarkable about the magazine is the way in which music industry products and the media are presented as an integral part of the imagined global community of English-speaking colonists. 12 12 C. Muller, 'White Pop and an Imagined English-Speaking Community in South Africa 1950-1990, p.5.
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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
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49 have caused Durban rock bands to
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52 During this period, the scope fo
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43 57 If you make a jigsaw puzzle,
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62 members. This did not seem to af
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71 Durban Rag concert in early 1984
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75 Usuals played mainly reggae and
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78 The streetrockers played a comme
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80 greatest gift to song - the orga
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Figure 3. 83 The Mods From left to
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Figure 5. 85 Young Fan in a Paper F
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Figure 8 (please turn over). 88 Cro
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Figure 10. 90 Wild Youth and Fans i
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Figure 13. 93 Powerage From left to
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95 CHAPTER 3 ROCK MUSIC IN DURBAN I
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99 government and big business were
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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
Page 156 and 157: 148 participate more actively in ro
Page 159 and 160: ..' 151 played by men (bass, electr
Page 161 and 162: Conclusion 153 This chapter has exp
Page 164: and when 156 less formally organize
Page 169 and 170: 161 of Warner Brothers) and EMI. Th
Page 171 and 172: 163 Independent Record Companies an
Page 173: 165 local rock was inferior. Accord
Page 178: 170 strike one as particularly ente
Page 181: CONCLUSION 173 CHAPTER 6 This thesi
Page 185 and 186: 2 Cullen, J. 'Bruce Springstein's A
Page 187 and 188: 4 Martin, D. (tiansl V. Morrison),
Page 189 and 190: Newspapers and Magazines The Daily
Page 191: 8 ________• 'Love You A Little Mo
Page 194 and 195: Interviews 11 Baney, Brian, A Stiff
Page 196 and 197: 13 11. Leopard, 'Underestimator', f
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