FROM ROCK 'N 'ROLL TO HARD CORE PUNK - UKZN ...

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169 punk bands in Durban. In short, punk in Durban did not get caught up in a mass production campaign. It did not seem beset with an inferiority complex, but rather made a point of verbalising difference, of self-affirmation. Perhaps the best example of this is Wild Youth's first single, 'Wot 'Bout Me?' (cassette, Ex. 23) released in 1978. The lyrics of the song are as follows: I don't wanna talk about Johnny Rotten I don't wanna talk about Sid Vicious I don't wanna talk about Joe strummer I just wanna talk about, about me Wot about me? Wot about me? Wot about me? I don't wanna talk about Elvis the Pelvis I don't wanna talk about Buddy Cochran I don't wanna talk about David Bowie I just wanna talk about, about me Wot about me? Wot about me? Wot about me? I don't wanna talk about Jimi Hendricks I don't wanna talk about Eric Clapton I don't wanna talk about Jimmy Page I just wanna talk about, about me Wot about me? wot about me? wot about me? me and you and me and you .... The lyrics of the song epitomise the self-affirmation of the punk movement in Durban. The juxtaposition of 'me' against the list of famous international rock musicians creates the desired effect. i.e. pride in local and personal identity as rock musicians. It places South Africans (in fact anyone who sings along) on the same level as the rock stars. It breaks down the barrier between 'them and us', 'the international rock stars and local musicians', and disintegrates the inferiority complex which seems to pervade both audiences and musicians in South Africa. The melody of the song is simple and repetitive, and is sung in a sneering, even taunting manner. A basic 4/4 rock rhythm (with emphasis on beats 2 and 4) is used. The bass line and chord sequence is also strikingly simple, and the only instrument which stands out is the electric guitar, which plays short solo motifs during the third verse. Altogether, the music itself does not
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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
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106 changing. We were lucky. We cam
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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 167 and 168: 159 South Africa). Durban record co
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 180 and 181: 172 could be making its mark on the
Page 184 and 185: SOURCES CONSULTED: Books and Journa
Page 186 and 187: Gibson, P, Norris, E & Alcock, P. M
Page 188 and 189: 5 Sachs, A. 'Black is Beautiful, Br
Page 190 and 191: Recordings Abstract Truth. Silver T
Page 193 and 194: 10 _____. 'Nightmare' (single), EMI
Page 195 and 196: CHAPTER 2: CASSETTE 12 APPENDIX LIS
Page 197: CHAPTER 4: 14 The songs recorded he
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FROM ROCK 'N 'ROLL TO HARD CORE PUNK - UKZN ...

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