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Gibson, P, Norris, E & Alcock, P. Music: The Rock-Classic Connection, Cape Town:Oxford University Press, 1992. 3 Guibault, J. 'On Redefining the "Local" Through World Music', World of Music, 35/2, pp. 33-47. Hamm, C & Lamb, A. 'Popular Music', in S. Sadie (ed) The New Grove Dictionary of Music and Musicians, 15, 1980, pp. 87-121. ________, Afro American Music, South Africa and Apartheid, New York: Institute for Studies in American Music, 1988. Haynes, K. Women Managers in Human Services, New York: Springer Publishing Company, Inc, 1989. Hebdige, D. Subculture. The Meaning of Style, London: Routledge, 1979. Horn, D. & Tagg, P. (eds). Popular Music Perspectives, Papers from the First International Conference On Popular Music Research, Amsterdam, June 1991, Goteburg: International Association for the Study of Popular Music, 1982. Horn, D (et al.). Popular Music Perspectives 2, Papers from the Second International Conference On Popular Music Studies, Reggio Emilia, 1983, Goteborg: International Association for the Study of Popular Music, 1985. Koskoff, E (ed). Women and Music in Cross-Cultural Perspectives, London: Greenwood Press, 1987. Larkey, E. 'Austropop: Popular Music and National Identity in Austria. Popular Music, 11/2 (1992), pp. 151-186. Mandela, N. Long Walk to Freedom, Randburg: MacDonald Purnell, 1994.
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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
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11 5 The Workers' resistance moveme
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11 9 a final attempt to regain cont
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121 Another song entitled 'System'
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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 178: 170 strike one as particularly ente
Page 181: CONCLUSION 173 CHAPTER 6 This thesi
Page 185: 2 Cullen, J. 'Bruce Springstein's A
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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