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17 be excluded from its definition. It is an issue which becomes especially important when considering the role of rock in such a politicised environment as South Africa. It was one of the aims of this study to discover whether Durban rock musicians chose to, or were allowed to, tap into this 'image' of defiance that rock conveniently provided, or whether rock in South Africa (and particularly Durban) was forced to become a watered-down version of the real thing during the era of apartheid. This issue will be discussed in detail as the need arises throughout this thesis. Thus, the definition of rock that I have used for the purposes of this thesis is a broad one. It allows for particularly 'South African' elements, as well as 'global' elements to be included. It allows for the inclusion of the various styles of rock which developed throughout a relatively long time-span, and does not ignore the social and political awareness so integral to rock. Finally, this definition, although complex, does conform to a general understanding of rock as defined by the popular-music academics quoted. 19 Further Considerations I would like to make it clear that my work makes no claim to be a comprehensive study of the topic. Furthermore, I am aware that although I endeavoured to be as objective and reflexive as possible throughout the course of my research, my assumptions and concerns are shaped by my own experiences and socio-economic position, which as a white English-speaking South African has been a privileged one. I am also aware that many of my sources (such as newspaper articles and reviews) are themselves interpretations of reality, and are the result of subjective experience. Thus, this thesis embodies a history rather than the history of rock music in Durban. Although I was advantaged in researching 19 For further reading on this topic, see A. Moore's discussion on the problems . of defining rock in his recent book, Rock: The Primary Text, Bucklngham: Open University Press, 1993, Introduction, pp. 3-4.
18 a culture not different from my own (i. e. a white English speaking South African one), and therefore did not experience difficulty in relating to or understanding the subject matter, I am aware that this could also be problematic. It meant that I had to do a lot of probing within myself, and 'unpack' many of my own assumptions which coloured my understanding of issues. Some of these issues included opinions regarding the South African music industry; Durban audiences; local identity; and women's role in rock music. Most of these opinions were formed during my experience as a keyboardist, flautist, composer and singer in a local rock band. Although these experiences were valuable for this study, they also created a discernible bias on the issues stated above. I, therefore, had to endeavour to distance myself from my preconceived opinions and look at both sides of an issue before passing judgement. I hope this attempt has been sufficiently successful. Being objective about a subj ect close to the heart is often more difficult than approaching a subject one has not already formulated ideas about. This problem was also experienced by Ruth Finnegan in her recent study of music making in Milton Keynes. 20 She points out that being too much of an insider (and thereby ceasing to be a detached observer) is a danger. Doing fieldwork in a locality where one already has established roles is pointed out as being problematic since people relate to one in a certain way, and one tends to be biased in certain directions without being aware of it. In my experience, this was also advantageous since people already had a certain amount of trust in me, and identified with me as a 'local'. They felt that I understood their lives, their music and their predicaments better than an outsider would, and therefore, they were willing to be interviewed, and lend me recordings or scrapbooks. 20 R F' 'k' , . lnnegan. MUSlC Ma lng: The Hidden Musicians. Music Making in an Engllsh Town, New York: Cambridge, 1989. See her Appendix for a very helpful note on Methods and Presentation.
Page 1 and 2: Lindy van der Meulen FROM ROCK 'N '
Page 4 and 5: ABSTRACT This thesis introduces the
Page 8: INTRODUCTION Reasons for Research T
Page 11: Thus, my twenty year period spans a
Page 16: Theoretical Perspectives Broad Theo
Page 20: 13 rock musicians. Although I never
Page 27 and 28: Chapter 5 20 Chapter Five addresses
Page 29 and 30: 22 The line-up of the band went thr
Page 31: 24 Africa. Although South Africa (o
Page 35: 28 venues opened up in Durban which
Page 38 and 39: 31 'sessions', and therefore were i
Page 40 and 41: 33 bills. The separation of populat
Page 43 and 44: 36 a 'golden decade' of opportuniti
Page 45: 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
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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
Page 90 and 91:
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
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130 CHAPTER 4 WOMEN AND ROCK IN DUR
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132 relationship of women to the ge
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134 in the workplace [or band] .dO
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137 family and band life. In practi
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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
Page 194 and 195:
Interviews 11 Baney, Brian, A Stiff
Page 196 and 197:
13 11. Leopard, 'Underestimator', f
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