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

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ABSTRACT This thesis introduces the reader to rock music in Durban from 1963 to 1985, tracing the development of rock in Durban from rock'n'roll to hard core punk. Although the thesis is historically orientated, it also endeavours to show the relationship of rock music in Durban to three central themes, viz: the relationship of rock in Durban to the socio-political realities of apartheid in South Africa; the role of women in local rock, and the identity crisis experienced by white, English-speaking South Africans. Each of these themes is explored in a separate chapter, with Chapter Two providing the bulk of historical data on which the remaining chapters are based. Besides the important goal of documenting a forgotten and ignored rock history, one central concern pervades this work. In every chapter, the conclusions reached all point to the identity crisis experienced both by South African rock audiences and the rock musicians themselves. The constant hankering after international (and specifically British) rock music trends both by audiences and fans is symptomatic of a culture in crisis, and it is the search for the reasons for this identity crisis that dominate this work. The global/local debate and its relationship to rock in South Africa has been a useful theoretical tool in the unravelling of the identity crisis mentioned above. Chapter Four focusses on the role of women in the Durban rock scene and documents the difficulties experienced by women who were rock musicians in Durban. This is a small contribution to the increasing field of womens' studies, and I have attempted to relate the role of women in rock in Durban to other studies in this field. The thesis is accompanied by a cassette featuring Durban bands in order of their discussion in the text.
CHAPTER 1: INTRODUCTION LIST OF CONTENTS PAGE Topic and Aims of Research •.•....••••••...•....•......... 1. Time Period Researched ..•......•.••.•••..•.•..........••• 2. Methodology .....••••••..........•....•.•.•.•..•.•....•••• 4. Constraints .•.•..•••••............••......•.•..•.•.•..•.. 6. Research Problems •.••..........•.•.••••.•..........•..•.. 7. Musical Analysis ..•......•.•....•..•............•....•••• 8. Theoretical Perspectives ...•.......•.•..••....•..•....... 9. Other Important Concerns ......•.......•..•..•.•..•.. 9. Working Definition of Rock....•...•.......••.••.•.... 14. Further Considerations .•..•..•.••..•.•..••.•.....•.• 17. Chapter Summary: Chapters 2-5....••••...•.••....••.....•.. 19. CHAPTER 2: AN HISTORICAL INTRODUCTION TO ROCK MUSIC IN DURBAN 1963 - 1985 Introduction •....••••••..•..•...•..••.....••....•••.•••.• 21. The Proliferation of Rock Bands in Durban 1963-1973 ..•••• 23. Durban: The Centre of South African Rock ...••••..•.. 23. The Durban Rock Scene ...••..••....••.•..•••.••...••• 28. The Music Industry ....••....•••••...••..•....••..... 35. Durban Bands 1963 - 1973 ......••...••...••.......••...... 36. The Flames •••.••........•••••...••.•••...•••.••..... 36. The Genks ••••••••.•..•..•.....•••..•••...•.•....•••.. 39. The Mods ••....••...............•••.............•..•.. 4 1 • It's A Secret/The Third Eye ••............•••..•••..• 42. Abstract Truth ..............••.......•....••.....••• 47. The Demise of Rock Bands in Durban and the Era of Hotel Rock (1973-1979) •....•••••..•••....•••••......••...••••••..••• 48. Introduction ..••..•........••••••.....••.•••••..•••• 48. 'Acoustic Rock'...................................... 49. The Establishment of Discos in Durban ....••••••..•.. 49. National Television ..................•...........•.• 50. Hotels and Pubs as New Venues ............••.••••••.• 50. The South African Music Industry ..........••....•... 51. Pub and Hotel Acts •................................. 52.
Page 1 and 2: Lindy van der Meulen FROM ROCK 'N '
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 25 and 26: 18 a culture not different from my
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
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52 During this period, the scope fo
Page 64:
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
Page 95:
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
Page 185 and 186:
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
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13 11. Leopard, 'Underestimator', f
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FROM ROCK 'N 'ROLL TO HARD CORE PUNK - UKZN ...

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