AFRIKAANSALTERNATIVE POPULAR MUSIC 1986 - 1990 : ANANALYSI.S OF -,,', . THE MUSIC 'OF BERNOLDUS" NIEMAND . AND JOHANNES KERKORREL. '
~. .--: I ' ~ [\,
- BRENDAN:, " "~ iSMIT , !l.' " ,' 1£~ , ;, THIS LONG ESSAY IS SUBMITTED IN PARTIAL FULFILLMENT
OF A BACHELOR OF MUSIC DEGREE
I CERTIFY THAT UNLESS OTHERWISE SPECIFIED
THIS LONG ESSAY IS MY OWN ORIGINAL WORK. 1
In t.he la"Le 19805 Lne South African alternative media documented Lne emergence of a small but popular music movement WlLn~n Afrikaans youth culturec By
movement pnenomenlc. - generaLing musical events of the magnitude of Houtstok
(South Africals first rack festival wnlcn was attended by more Lnan twenty thousand people)i and the Voelvry tour (a national
by In 199t) even Newsweek documented Lne significance 0: Aflikaans
ffiLtsic
Afrikaans alternative ffiLtsic made a deep
impression on the Afrikaans and~ aLSO White English South
consciousness. In 1989; Shaun de Waal documented the significance of the Voelvry tour~ 2
HTr~e S.l.mp le cDnjLtr~ction of i-oek n 1-011 ar:d Af:-ikaans .l.n the form of the Voelvry tour has caused more of a stir in the South African music-consuming public than anything since the teenybopper hysteria of the Rabbitt days and
by the emergence of tr~is
- fnL~S.l.C mOVefrieu"L. = Afrikaans alternative music expressed a
r~or~-~3.cceptance DT nationalist ideology and DfTered a critical re-appraisal of hegemonic Afrikaner culture:
th i s fnes-=~age such enthusiasm that
fnL~sic C~-3:me be seer~
and
music \came ~o De recognised ·3:5 Lne manifestation of the emergence of an Afrikaans cQunter- culture in Afrikaner youth5~ both by Afrikaner cultural
, 'l- ana Ll;!::
A concerted eTTor~ was made by the cultural of Afrikaner hegemony to suppress LnlS
Rathbone reported lTI 1989; 3
obscurity to public notoriety seems thoroughly to have
Religious protest~ bannings and nega~lve reporting Dy the
alternative popular music;
, , been neapeo !:In dignitaries of the Nederduitse Gereformeerde Kerk, the
nas banned mOSL OT Lne songs on the Voelvry albLuT~=:I: = call Band:s album Eet Kreef~; and most of Bernoldus Niemand~s albuffi=
Anci it oevcrted Netwerk LW a
e~{ami'natic:n this
the Afrikaans alternative musicians became a
Before Lne recent development of alternative Afrikaans popular music~ Afrikaans popular music had oeen~ in most
cha1- .3:cte~-i s.eo bar:al ffiLisical
acted as a conservatoire Tor hegemonic Afrikaner ideology= The escapist~ fantasy- I"·f· '''''1' ....j ;;1 "0 '1::1 IJI (~" 1,·1. 1''''" ..··1 !:U ::1 ...:!.. 1..·,,1 I.n f1 ::1 " Cl r"'" . :3 :1: ...... I ~ I.ot( Cl :::r f"1 I:: Cl, (:I ::J" 1"1" J:J (:I :::1 ..II 1::1 I:: I:::l ~1I £Li Cl !:1I ....j .. Cl 1'[1 Cl Cl Cl I'Ll 1'[1 1"'1" 1'+ , 1::,.. '.CI Cl. lI'I ,£~ 1'[1 i~' ::1 ::~ ,'"I" 1...1 , 11.:1...., U::J f[I 0 III I'D 1'[1 ri' I.n ~..II r.:1" £: ::::1 :::1 "Cl ,: 1.1'1 ..", r[1 "-1 1'-.1 1'1" :::1 ;::1 I:) ..", I'D IJ::I !:u ,,< 'I Ln I'[J 1''''.1 ..", ""j 1'..,.. ,...., 1"'1" !:1.1 £1.1 :::1 ::::1 Cl ::1" I::: "I:J 1.1'1 < r[1 !11 rtl rtI rD I'D ::;1 ;::1 1'1:1 ::;1 I.CI ,'''I'' 1,,·1, ::t::, ::t:~ ,,,,,.1 1,..11 1'''1' I'CI I.fI I'D :m:.... Cl ..", ""h :~I ;;1 1::1.. r[1 1,,·1, 1.1'1 ::L1 ..", ....I·, '-h , I ,'''1'' I:J I'D 1'[1 Cl ,..., "< " rLl iT.I 1.1'1 f"I "I::' 'dl ..", ''''; I'"'' "1::1 1'[1 .., ill .< ·...h ;~1 '.,,,,, " 1...,,1 !ll "1:::1 ,"'1" 1",1, 1".1 1 ',Cl Cl :~ nl , ... , 1 ...., ~ I:J ''l'1 Cl ...< ::':;" ::~" ....I 1.1'1 ::1 I:J.. I'"'" e) :::1 I,n .'.'" Cl" ,:1.1 '"" Cl :::1 :3 !:1I !:1.1 1...11 I·..', I.n r"I" :I> I'D :::1" 1",11 1,..1, 1'..,,, ,... !:1I ..·to:: ::1 !:LI "Cl Cl I:l. I::: ::l ':1I ::::1 f~' , ""h 1:.0 ::1 f~' 1fI :::1 I-I :~1 ".., 1::1" :::1 ill .< n.... 1'[1 il1 :::,1 I..'" !ll ,'''1'' i... • I.n 1'''1'' '''1 ID :::1 1.1::1 III , ::1 :J" "1 1.11 t:J) m 1J:::t ::::1 1,,1l, ':Lr 1.lI f(I l·nll 'dl "1"" ,.... 1:) ro ;::1 ,'''1'' ....'il III !:u iJI 1'0 ...< I.n 1'[1 I:: ::r.:" I'.:J" ,", 1::1, ,::1 ::1 £1.1 ::1" , 1"'/" f,u 1..,1. I'D 1'[1 ~'l.1 1'r.1 Cl 1'''1'' I'[J 1.1::1 I..", m !:1I I,"" r.:1" r"I' 1'''/' :9 I-I" Cl" '", £lI :~I Cl '1;::1 £lI 1.11 :::J :::1 1;,~l Cl I'D I'CI ::J" f,L1 Cl :~ I '!j,''I,,, :::1 ....h I:: ~'JJ 1'1" !:u 1.11 ::1 1'[1 ::::t ...< 1...11 ~P,:" I.n 1"".1 ..... 1'..,.. 1U I:: ::[:l Cl ::r , 1'0 iJ:1 I'D :::1 Cl £u ::::t I,n W ""h :E ..", 1.11 !:u !:I., ... I::t '''1 , !:I.i Cl ::::1 1,11 ::1::" 1·,,1. ....j 1'[1 1::1.. IT! "1:~1 I.n ,'4" ..", I:.•.) I.n I'[t :J.::' IJ::I I:~" ....i·, 1:::1.. "';:I "'1 r"i" rtJ 1'[1 1,..1, 1.11 Cl ::J" , ,...... m Cl J:Lt III 1..,11 rJJ I'D '~, "1::) ,", ::1::'" I,n ::1 1::1 1:::1.. f[I :~I rrl ::::1 ::::1 1:,::1 ::::1 rtJ :::1 ....j !:I,I Il:I ::r.;- !:u I"", C:I.. IT.i I:: IT.I I::: ~r,:" '.1::1 11 KI.i ',11 :::1" 1'[1 1'1" 1"",,1 ':L' m I::: I'D i'" , 1'[1 \.",& I,n ""j 1.0 c.. ) I,..', 1,,·1. r[1 1::1.. 1'[1 I::: ::1 ::::1 :::1 I::)".... I.n n:1 I:: (U 1"1.... '''~I n "Cl 11 1".11 Cl ',1::1 1"'1" n 1'''1'' I,n , 1'[1 ""I , !:u n ~..II ...., 1 !:IJ I) 1'[1 ....I" I'D ~: \...1, 1::1" ,"'I" !:1I I 'dl l'..f, 1..... I.fI 1.....1 ":~1 ',U ;3 !ll ,....., 1'[1 :r.:~ 1'[1 I'Ll :::1 !::I" 1,..11 I·,', ',,,,,.1 < ::1 Cl 1"'1" Cl 1"".1 !:u I.n "'1, -< :::I 1::1.. Cl t.n ,-(" 1'[1 I'''''' I.n r[1 ::;:1 r.u ~,,1" ::1 .0' "1 Cl !:u rD ::E ,.....I ;:E: I.n £:1.. I·~II :::1 Cl" Cl ';:1 I'D I,,,·, ~, "1 :::1 .::t.:.. !:u i"', 1'[1 :::J ....j Cl !:u r.u "Cl n 1'[1 ..-I., ~:. IJ" "1 1:::1.. 1'+ I'D n ,'''1'' 1,1" Cl ... 1'0 :Ei I,n ::r.:n f.l,1 I'Ll 1,11 ,...,,1 .. :'i' r"l" t;r.I ''':'f...... 1'''1'' !:Lr r.u n I'~' rJJ "1 £u I,n 1"1" 1'0 fI) 1'..,.. '~. Cl Ci ... :::1" "1 f'" , ,:U ::::1 ::1 ::r.:" ,'" J...l 1 Cl "~ :1> 11 = Cl " rD . m Cl "..,.I 1'1:1 1'[1 ::1 "-I., "Cl ("..I. ::J" I.n .....:1 I'"'" 1'0 I'"'' '''h Cl ~.ll .... :3 ...., '''1 1""1 C~.. I.n , \...11 1'[1 I:: "1 1'0 1'[1 I.n I,n 1.1:3 ,"'1" I..,', 1)'1 "0 (u 1'",.. D ro tu W I.fI 1"',.. I'D 1'4" :::r 1'"'" "1 ;:1:;" ::3 "';'. W Cl f[I 1.....1 (LI '.11 I'i ::1" I:: r[1 1'''1'' ,,~) f"', "1;::1 1<..,,1 ::1" "ot'" m !:u Cl ::1 ::1 !:Lr '" ::1 ',(1 ::1 r.LI ::1 I'od, 1.11 n f,,·I, ::t:;" '1:1 1'0 _.\ I:: D. I I"IJ :~ 1'[1 :::1 1:1 f~' r-...J < ~"ll ::1 ,:u f./,I i"'" ::t, !:I.i !:u ""j n 1.U £u £u I.fI IJ::I 1...... 1 iJI 1,1'1 "';" ....""I',, 1.u,_I :3 :1;:0 l·ooll i"" 1""" ..", 1-' 11 ,t!:. ,I" 0 Cl £: "';' 1'1" !:I.i I.n c"1. n "1 ,~ ::1 ....j ro f..• .., I,n ~:: ::1 iJI ,....,1 I'D m 1-" (LI ".., "-I, f"'· ~r.:" f"" ~ W I·... , !:u "4 ::1 I) ItI ."jo, I ~: £L1 f... • r.u i"" n I'D f"'· ::r.;" I··i" 1'[1 t: I£J 1.....1 ::1 " ....1 1"1" :::1 ::::J '" IT f1 (Lr i"'· ..+, '1 fJJ U1 Cl" ::r 1'[1 f·..l f Ii lO 1'[1 .., !:IJ (J r.: ro ~ ...... 11 ItI 1'[1 ::1" ,.... 1'[1 1"1" 'I ID :::1 :7.1 ::1 f,LI :~ f1 ~E 1-' !: 1'[1 l".t, ""j n, ~-, ',11 """, ~E .... 1,(1 f,L1 f"I I:: "1,:1 1•.1 1 I,..a, 0 .. 1,') 1'[1 '....4 I,,', -< ::1" .... f"', ' .....1 ,'"r- I'"', (:J.. 1.(1 Cl, 1'[1 ::1 fJ.1 1::1 Q" 1'..1, C:t'".. ID Cl. "t::.1 I-'· i~' I'"r- (:1" 0 IJi ~, < ~.."l Cl ~. n ro .., ro I:J 1,1'1 1:;1 .....~: I:: ro 'to< '.CI (u I'D Cl :~ t.fI 1'0 :J" I:) UI 0 '1::1 I'''r- ::1 " 1'''1'' lO ::::t 1'0 :::1 :::1 ""1'1 " 1'1" ..r.'", 5
OT a mainstream -Afrikaans pop song o"l-"l LOL!.ise
song competition~
a mL~sic critic: is maoe up of lyrics such as these;
, , kyk oe: n ~::YK = = = = is om haar SKouers~ Ek s~~ Ek Wll met jOU praat= Vanaand
is ek S(J1 d.3.at = ~\..i'-,
jou army olng= baan rol rond~
This L¥pe of mainstream Afrikaans acqLtie-3cent of Afrikaans hegemonic ideology= like Benadie and DU TQit-Smit~
patriotic national sentiment in the
Afrikaans popular mainstream include Carike Keuzenkamp~
Herbie van Zyl and Vickie DU Preez~ amongst a host of others=16
-~ Ui pi-opagar:distic and eSCap.1.SL illuminates the mainstream Afrikaans pop is completely acquiescent to
, "&: ;:'" ": Dot:.r~ market forces and the B. .l. J. -pOItJer Tu 1.
the 6
Together WlLn the monopoly of the ma~nSLream
~. --n~--:--n- ,_-.n_'.~'.~.:_"-"_.31 ~~_- ~.D,0 r_n!.,.+p~".T_ IT~eu1.a 01-ycU ...... Ld., :. ., ... Afrikaans malDSLream Hanr~a i 1. van states::: popular musicJ===~voer die botoon en word aktief bevorder ,...... - die r:=H:t=.. end die promote Afrikaans mainstream pop ,,, l:.Ltne of r~L~r~a~-eos cd: thousands of promotes - - ffiLtS.l.C festiv-=:lls in CODJLtnC"L.1.0n. songwriting competitions with this state organization which~ in the later 1980s~ was widely acknowledged to be mouthpiece hegemonic Afrikaner nationalist ideology.21 lne S.A.~.L., in programmes such as Debut, Teletreffers, ~ Versoek, promotes H .. var~ St-3den comments::: 7 =!i~J.J.:3.tte~- gesigte ;.~o·cd 001- er~ oar in P!-og·carnrne SODS die geslen! 'Die van kunstenaars wat sing oor die mooi en Ole SC!lnsonde:-g.~nge en Thus~ it is clear that mainstream Afrikaans popular ffiUS1C has been hijacked by the culture industry of South H~rica~ The major record companies who nurture ana sell conserVdLlve and exact C!lve~- the mainst;-earr~ m~,J.sic industry in South Africa: the influences of Afrikaner nationalist organisations Ole that Nationalist Party ideology~ the ideology of the Afrikaner in the content of mainstream intervention has oeen documented~ kllDstenaai-S a1 n skreiende skande~ Kerkorr~1 het dreigoproepe ontvang en meeluister-apparaat is _ 1 ~_!l= ';:::;'':0/'':.:: T_e _1 r-'l_- -_~_r__,~,__,._<::1_ -C_-,.<::I_·,':.' _'_' __=5-,',. -.;_. ~_}.o_',-._=>, _:,' m--y: ...... "..,...--,. "'n _ ii ...-.. ..=- .,...... """""-._ •- - "- '. -- ;HC:_ ~..Ji..L:t=: -tut='l.#'l::~~ y-LLH:::"s die die TV- span====kort voor die Houtstok-fees onderhoude met die Voortrekker-monument en op Kerkplein in Pretoria gaan opneem het, het Nasionale Intelligensie hulle van die Houtstok-fees het oak voor die fees talle naamlose en suggesLlewe oproepe ontvang en hul fc~ne In specifically catering for the CODserVdLlve cultural hegemony of Afrikaans culture 5 confOl-ms to an ideology often borderinq on fascist~ the popular mUSiC of the Afrikaans mainstream lS unable to resist complete standardisation and exploitation as a commodity~ The standardisation to which I refer is a feature of Hffierlcan.:":0 - sWlng\Olg- 'I. t - H==~==a piece 1.5 totally made up of easi 1 y~ ~-eco!:;Jr~isab le f~-eqL~ent accepted within an overall scheme which are generally accepted through much repeL1Llon~ are the primary vehicles for mainstream ::[::, "Cl ::~ Cl W iJI :::1 CJ !:u "."d 1.1'1 ,", "-1 'D ""j :r::, !:U I..'''' 1.0 f1 ,,+, I:::: ::r::, ""I" ""h :;:1 Cl !J.I Cl I::: ;:1 n >'ot( 1'"1" I.n ::::r il1 f[l "+, :;:1 ,",. 1"1" D Cl "4 ""h Cl" 1,,·..1 ::1 "".Illl. ""j 1·.",1 XJ ""I ID ::1 1...,J "'" Cl.. 1'[1 ..< :;:1 "'" Cl" "'" ~"'l ro ""' I:~" I...'· f[i d' ..< r: 1...1, "'" 1'[1 !-' • 1,,·1, I:~" 1.....1 1.1'1 ~~I ':L' I"'" ,",",,'U ~..ll " ;~: ::~: :3 "Cl ""j I:: I...'· 1'''1 1'[1 n ...... , 1.1:::1 .. I,.,..!, 1,,·11 1'''1'' ::1 .. ill ~u ,.I;~ 1'[1 I:: "oh -, 1,..11 Il1 Cl :;:1" ..... ,:u t"· !J.I ".+, I,"', I··J "'" t"· ':1.' ::::1 1",1, ~:: ..", 1",,·1 r.:: 1'[1 :::1 I.n I !l'.... m ,"'1" I:J ::::1 ill 1'[1 I'D c: iJI 1.1'1 L'U ....f[I :::1 I'tl iJI !:u 1·..,,1 ..", f"I f"I 1'''1'' , -ft 1'1) r.:: n:r I: 1.(1 r.~ .. n m !'[I ::1 , I,n 1.1'1 1'''1'' , ,'''1" ....j 1'"1.) ." IT.I Cl ..< ,:u Cl. IfI :;:1 1:3:'1 /,"1" 1'''1'' 1::1" 1.1'1 1'''1'' ,"'1" :~1" Cl Cl :;:1 :::J 1;;;1 1"'1 m 1'"'" '1' f..·11 1"'1 1,1'1 ..", "1 ,'''1'' ([I 1'"1" 1'1" m ,-I" Ul :J" " to iJ I:: ([I""' 11 J.(I :::1" ',11 I!I 1,1'1 1'[1 ...... 1'[1 1'..,.. f1 1'[1 :~1 1",1, I~ ''£:1 1...... 1 ""'1 r.u ::i c.. ) !:u 1:1.. ::;1 ""j ..... ::1" r.: Cl :;:1 11 ::1 ...... Cl ,"'1" EEl '·...1 1'[1 0 ,'"1" Cl ,:u r"i" 1·,,11 lil I"'..' f[I ,,,.,,1 C1 1'''1- A "1,::i I::: ::::1 ~:I .,'" Cl ::1 :::1 :;1 'I!:. 1,f1 0. ''''::: :::'1 ,.",.. ..+, i1' t", Ul ""I ".+, f[I I:).. :::,.. 1'[1 ""j ~:: ...... f"I 1;;;1 < '-'. I'f.I :3 r.J" m ,"i" Cl 1'[1 1"'1" HI ...,,, :JE I"", 1:::1.. "",. I·"· I.n "'" I'D r'" 1".1, ..... Cl ,...,.. , '.Il Cl :::r ...+. ..", ::1" C, 1'''1 I'D n ([I Cl') " :;:1 ',.< 1fI III :::'4 "1:::1 1",1, ....., 1.1'1 1,1'1 ITJ I'"'" :::1" :::1 :::1" 'dI ll'l Cl I'D 1'''''' "4 1"'1 0. "1::1 1,1'1 1'''1 1 1'1.:1 "I:' I'D 1'''1 I'D m 1::1" Cl ll'l r.: 1.1'1 r.u f'''' c, •....:1 1::1 Cl f,u 1..,,,1 :::1 !:u ,... ~: 1'"1" I:J ..", I::: 1'"1" ,....., 1'"1 IJI .,< ,,;;: 1.1'1 ""/ ::1:: I::: 1'"1 <: 1.1'1 ..", ::r ....1·1 1'"1 ::r 1'[1 1,11 I I·,,'· 1'[1 ,:u "'1 1'[1 ; 0 "Cl 1..,1, !1' 11' 1'[1 1"'1" :::1" ""/ ,'''1" ""I" .,< ...... !:LI "4 1...1 1 ."., t....,1 1...11 ':L' rr /'"1- "4 0.... "...>\ ,X:I A 1"'1 1'1" 1'[1 ,"'1" :'1" !1' rrJ 0 , ,.." Cl fI) ,...1, "1'''' 0:1 IJ.I :':1 III I'D 1'"1 1.0 1::1" ([f ::' f,u ::t::, ::.:: :EI 1'"1 ,If. :::1 1"'1 I·"" :::1 I'D 3 ·.il :.~, () 0 1.1'1 1.1'1 •..·h ,wl" f,/.I t:::I 1'[1 ....j 1'''1'' ,"1" I::!" ::;1 0 1.1'1 !JJ :~1 :~I "1::;1 1·",,1 1'[1 ::1 ::1 ("j 111 ::F.: m !JJ 1.... '1 IJl '1:::1 1,,01 1 Cl ill I"" :::1 ,'"I" "·h r:J 1,1'1 f"'I :::r 0. 1.1'1 1::1 :;E I·,,', '''1 ::i j.:J ,'"'" "; 1"'1 1'''1'' 1"'11 0 r.: Cl '''"1 ,"1" f,u Cl 1'''1'' I'D ""h I:U 1,11 D !:LI I:: I,,", I::: !:u n ..", ::1 ;:1 ::1" :::1" ::1 ~"ll '''I~ 1',,/.. ',tlll r./.I ""i I'''''' ·t:1 ::::I " ....1 Cl to :::, 1';" U::I 1'[1 :'~I ..., ru Il:I !T.l ~J,:t ::i" f,: 1.1'1 I'D !:u 1'"1" ,:u ::::I 1,:i" 1_' I:,.. :;:1 "", ::::1 1'[1 I'[f 1'1:1 :::1 ::::! U::J .'", 1,1'1 ..< r.u Cl "oj~~ (J ::1 1'0 U::J ',ll ..", ,wj" !l' U::J 1.1'1 1"1" -< "1:::1 I "'1 r.:: "C' r.1,I '",1 1 :1> ro I'..ll ,...,,1 ,..1" 1'[1 ~3 r.U 1...11 !-" 1'[1 ""I ,:/.1 1.1'1 r.1.1 U::J 1:;1 ..h .J::I ..< I,", 1.1'1 ...., I::J" I... · ::::i W Cl :::1 I.Ci I::' I'D ::' ~~I 1'''1''...., 1.1'1 1'[1 I:: Cl I::: 1'1:1 Cl ''''i I'od, "of, Cl.. ::::1 ::;:1 1:::1.. I:~" W ("j ([, 1.1'1 "'" "Cl !-" I·"· ':LI r./.I ::::1 (D :::1 ~~, f,/.I 1"'1" iJ I I·odl I"dl ~". ,..t ::(~ .. /'''~' 1"..,1 I'D I::: "'1 1::/" 1.11 I'n ""h (""., :';1" :3 ::F~ :::1 r.u ::1 ::i f,/.I ""i !.I.I ([I \...11 ;:1" 1,,,11 ,I" I:: \".1\ 1'[1 1,", 1'0 ,..... ""j I'f.I ::3 1.11 ,.-" !:u 1,(1 ::::' j',.j I'J) t:J :::;1 ""1 ""i ',..J! f"I F.3 ::;:1 l,iI 1,1'1 1''', ,...... '::L i.O 1'1" , ;:1" , "'I~: I'D 1'[1 rr.1 ..", ""I, J'[I Ci :,-." !:u (0 nJ f,U 1'1- "4 ::r ::1" 1'1) 1.< f'I) ::1 "'1 1,..,,1 (;1.. 111 :9 1.'I.i ''0 :::1 ::1 1.1'1 ::::! m f,1.I ..., I:~ I'D !:u .. 1';" Cl t::J_ r.u :fJ m ,I"""" 1'1- 1';" ,'''1- "../ ,:1,1 1''''.1 /'"'" I:J (D f"I -< "4 ~.. , 11 ,:/.1 f,1.I I ,.... 1·..·,1 ::;:1 :'-:1 1·,,11 ~..I, :~, '", !:u r.J" I:: m !ll :::1 "4 1,1'1 :3 Cl '~( ::::I ,'"I" n 1.1'1 ~ ..,d 11 1.1'1 ,-r' I.CI 1,1'1 ..< ''''~ m -h -1,::1 :;:1 :J' !:u 1"1" Cl I··d, 1"1" -h ::9 :::1 [) 1'''1'' !:u I'D 1.1'1 1.1'1 !:u ~:: /."", 11 Cl" ..", Cl 1::;1" /,"1" 1,(1 "/::1 ;;:i" 1'1" 1'1" ""h 1,(1 ""i 1'1" ..tJ ([I I....·J l.iI Cl ..., 1' ... .1 1'1" ,'''1" I'D c: ("' ""j r.u ,:1.1 f,u ~'mJ r.u ::r.;" ._,I'D 1''''.1 ~"I. [) "~'I::: "4 r.J f,: -/ f,I.i !-... 1...1, 1.1'1 :;:1 1.1:3 ::~ 1.1'1 I'D 1·....1 1::;1" (D :;:1 1.1'.:1 ::1 n C;:I" 1.11 1,1'1 1'[1 1.1'1 .f( ""I, 1...1\ 1';" , ''''1', r.u ::1 '.r.J 1'0 1'''1'' I'D t"· :;:1 'n (.1 ,... Cl" 1.1', 1''''.1 tu 1..,...1 r·"" 1'[1 ""j ,". ,.~, r"l" 0 :::1 n I'I'J ,"'I" r"!" ,w' 1".1, ,~ < 0" c, Cl :::1 f[I U'J -. ::1 I'D ;;:f" (f.I "1,' ~O f[J Cl ""i l,iI ::1" ~"II (.J.I ::1 ,"'I" 1,(1 'dI ...... , .., ""h 1'[1 iJ:J '.' 1'[1 , 1,(1 'dlII ",,1'1 f,u I 1'[1 n I:~" . ·..0 ~1.-': -~ ~:;,';::: _~-- ~_-_-.~_ ~-!=i_-_::;_.;n.,.. ".~'_!_!C""":_~= _~.',- i ne 1."i _•y§__ it-=:;'.: __ _ W_ -==~ H!:::'1. .!.F:_-~-_d1~5 - '.-.'.''._=-... f1.•. .• !!_!.~ '_! - !.m,.!_!.<::;_'- C a:-e ar~d mOS""CiY never critical or reflective of Lne current crises in African culture= Deviations aforementioned formulaic aesthetic mooeLS seldom occu:= The is Staden as oe1.ng li~-ieke en An ~frikaans pop artist in the mainstream who exemplifies ,., Ln~s kind OT pop music is Bles Bridges~ mos~ successful popular singer in South Africac To date Bridges has released twelve albums which altogether have ffi.l.l1l0n• '"l "l: - COpleS;t- By way of contrast, sold only 150 000 Lrrli-Cs, iri Africa=31 Bridges combines a melange of disco~ and some of ~ne vas-trap32. rhythmic style of boeremusiek Wl~n aLas • - r Vegas-like kitsch i=fac Kag 1. ng 3:JT glitter~ sequined BIes states To sing about politics has never done anybody good = !! 33 His conSL~meri st above aesthetic: ..... is also made explicit L-r~e 11 OT the his albL~ms= SL~ccess on of it rna.r ketab 1e ~? You can have the most fantastic commodity [my emphasis] in Lne if it, it.t s a The commoditization of Bridges: music lS comple~e~ As he what is the mOSL ~~L~ccessful music? alDum recorded by Bles ~rlages De~ween 1990 is Laat My Lewe - Laat My Liefh~; which was released 17ti~= The album features titles such as ~~Ek en folk-like sing-a-long~ ano a cover version of a berman ..l.S agaii~5t of 12 nature of the new popular sLYie= Through an analysis of the music of Johannes Kerkorrel and Bernoldus Niemand I will endeavour to reveal how alternative popular music is a manifestation of new aesthetic values= These aesthetic in both the form and COrfI:.Ef1'L of alternative Afrikaans popular music~ have generated a non-conformity and diversity in the'repertory= They are by the exigencies of by the expression of disjuncture of a marginalised Afrikaans I r~ expression of disjuncture is a fragmented response to the violence of Afrikaner male life in the apartheid system: In Jonannes Kerkorrel~s work~ the rOCK n roll style has a critique hegemonic Afrikaner culture and a call for radical social change~ expressing the SOClal disjuncture experienced by Afrikaners who reject Lne ideology of the National Party= Hence~ I Wlsn to suggest LnaL the aesthetic of Afrikaans alternative pop is the articulation of a social , - negernon.l.== in botr-~ form and content is an embodiment of a historical crisis The historical crisis to which I refer lS one of :t;, I:J ""1 I"oll r.u n,l Cl" I,n 1J" 'U Cl" ""I ,:3 !:I,I .."..I I"" I:; n :1> 1'"'" n '1:J n "..I, 0,< 1,..1, ::~ "~" :::1" :::1 1::1" ::1 III I::: ""I m 1'[1 '1:1 :::r "..:'" m '1::1 0 '"'I 0 "+, 1'(1 !ll r~.. :;;1 '1 ',..l, 1'''1'' '1~' 1:1. ':L1 1'[1 ,"1" ""I ""I ::1 0 ;:1 ""I (J:i "'1'1 ::1 1"'1 W 1'[1 ""I I:J...... I Cl :c:, I'"~' 1,,·11 ,'"I" ""10. "r.:1 ~"Il ,"" ~t,: Cl 1'[1 Cl" !:L1 1'''1" :;:I Cl ::::J m 1.... ,1 1'"1" \,..,,1 ..+, f,I,' ::r.:" I::: ""j Cl 1::1 .. I:: ::1 (J" Cl ::1 1::1 ~..,. J1.'.1 :::1 ri" W 1'[1 ::1" 1:L1 w '''1 1..,1 1 1.(1 :::1 0 I::: In 1.(1 1'"'" ill ''''I :;:1 I,..', (L1 1::1 f[I I,,.ll 1.11 1'[1 I.rt 1...1, ::::1 :::;1 1'''1" \",,,1 :::1 1••1, :::1 1,,01, I'~" :::1" 1'''1" I:: I.rt "'I ::1 1"'1" ""I I) 1,,·11 1.,,1 1 1"'1" I:)" ~r.:" iT) 1:1" 1'[1 ,"" i),1 1.r.::I, ::~ 1'1" l.rl :::1" I.iI :::1 (J !:u r:l.. 1'[1 !ll ::1" ""I J.....t ~"II ""\ ::l) Cl ""I ""I '!:/J ::1" 1",11 ',' :::1 :~ I'D ::1 1,,·1, Cl 0 ""10. ::1 "< ':1I :~ 1'1:1 (1.1 l.rl '." 1:1. 1'[1 "I:J 1'0 J.O ""I -< 1...1, ::l ""I !11 :::1 ,:1.1 I,..', ::1 i:I.1 ::f.: n.l ""h ""i 1'"1" I'D 1'1" 1'(1 :3 n 1 It.".. ,...,., '",1 I""" (:1.. I.I::J 1::1.. 1:1. '1:J ::1 ,"" ""h I'i 0 E3 :J' ""I 1:J r.: 1'"1 ',·0 ([J rtI 1::1" 1'"1" 1,,,,04 I''''' Cl ""j -I 1.lI I"'" i:1.I III ',,,,,I .. 1 1, ,:1.1 '..0 !:Lt :::1 :::r ''''I :::1" 1"'1" ':1I -< , I·"', n 1... , 1... I.n ::r.::, I.n (J.. 1'"1" () "1::1 ([J I) I:J" 1...1, 1'1" r~" :::1 .. ~" I.iI Cl" I::: 0" Cl Cl m I.n 0 n ....I 1·,,1, " !ll ::1 ::~ "'1 Cl l:Jl I:: ::~~ iT) 1.11 '"', :::.1 f,LI I'D '''I rtI ""I ""h I.n ""I 1'1" 1'[1 Cl (J.. 1'"1" :::1 I::: 1.0 I.n 1",,01 Cl" ~.oIl I'D /:1.1 1 " I) 1",1\ 1'''1" 'dO 1, .... f,:: :[:) w ::1 [:1" 1'"1 "Cl ::1:;'" I,n I..·..' I·~·J " ::::1 ::::1" t:Lt I,CI ::J" 1-' ,....J ..< I:) 1·..11 1:L1 1'[1 ':Li '1 1.1'1 1....J ,'"I" I'D :::1 ::1" 0';1 "1::::1 1'"1" I",', '.(1 1'[1 -h 1:1 I'D ....i :::' I'D 1'0 I) 1'[1 1, ..1, "+, 1::1.. 1'''1'' Cl ""I 'I:J CO f,1.i I:: -< I,"', 1'0 1:L1 (:1.. 1·,,1, ·tt " 1,,,11 ,,,.1, ,'~ iJ::1 Cl" Cl r.:: "'1'1 I::> 1.1'1 "'() 1,1'1 1'0 ::~ Cl ""I f"I Cl.. 1'[1 ""I ''''1 "1::1 1'"1" 1'"1" ,:\.1 l.rl ::1" ....I 1:.1.. ::i ::1 Cl 1::1.. :y I:J" I'Ci 1::1. ill 1"1 I) Cl :::1" " 1"",1 I'l1 1'[1 1'0 ffJ 1'1" 1.1'1 n 1'0 ...< :::;1 ,'1" ',11 " I'~ .. I'''''' i:\.I 1'[1 ".. "I !:I.i ':1.. I.fI :::3 I,n lfJ 1::: CL. Cl" I·,.;, ;:;1 Cl. ~'''l 1,..1. :r:, ,"I" < 1...1, I""" 1.1'1 1·",,1 1'"1" t·... ,1 '",1, "'I~ 1:1 Cl.. 1'"1 1'1" ""h ".., I,,,', ..""I 1::1.. /...1, ::r .,< :~1" 1"1" 1'"1" 1'1" 1 ....I .,< :1 1... 1 lfJ I:J CJ :::1" r.Li ff.I 1'1" (Lt fJ.J I'D I::: /.",. ::1" t.::l Cl. '1~1 I'D I.... • n 1'''1" I.... J I'D ::1 :;l ,.< ::1 -< i: ""I ::::1 1...11 I'D !:u I'D J.I'I ~l:;" f"I I,,,'· ::::1" 1'[1 1'''\'' CL I'll :::1 I'D 1,1'1 :::1 rt III""' :::l 1:\.1 ,'''1'' 1'(1 ::1 1.L1 tl n 1'"1" Cl.. I,..... 1'[1 ,•..1, ~E ;.r,:t ::1" 1'[1 ..,",I 1,1'1 r.1.I " n I).... ::1 Cl I:: r.u ::",: r.u /..... :::3 f[I U'I f[I III !:u , 1::1., ::1" 1'''1'' :::1 I"'''' :::1 I'D I,n :~~I" I,..·d ""I (:1.. (~.. 1,11 l.rl 1'0 ',11 ....i I,l:l !:u "1 1'1" ,I" 1:1.. I.n m 1,,,1, I'D fD I'D 1'0 ',11 ~.~ ."t.:; ::E: "1 <: r~' 1'[1 I:: f,u "1 :::' :::;i ;~;~ rJ" 1'"1 1'0 . I'D 1'[1 '.CI J.I'I "I ::t:) :1" "< "[:1 ;~" I'~" ~Li 1'",.. '''l~ u ",1'1 ',,, f[1 r.Li Cl .... 1"'1 1::r.:1 1::1.. I,CI r"i r.u .. I'D .. fD r"\" :::;i , 1.: I.n 1...1, I) CJ fO 1'"1" I'D f[I 1_,1 , JJ::J ""I 1.11 .'j ,. l...ll 1'1" I:) 1'0 1'''1" 1'"'" :::1 ,,+, 1'~ .. -I, ::1" "'1 I:J.. ,.... , 1'[1 1.,,1 1 :'1'1 .... ","" :::1 :::1 I) ::1" E3 fJ,I ~..II f,1.i ::r 1"," , 1'0 ,", :3 1'..-.10 Cl ..", (LI ftl :;;1 I'D .,< n Cl 1'"1" r.1I :::;i Cl Cl.. .", "Cl !:I.i () -.I) (~" f~" -< ,:\.1 ~E jE: r.u '~ ::1" :::1 111 :[:) ,.... I'"', ::E rtI ""j ::1 ::1 0:) 0" toO, . ~"~ 0' 1'[1 ::1 Cl 1'1" ::1 !:U ':LI Cl ff.I 1,,,1, 0'" ~"" Cl (J'J \...11 I:: ""I r.:1.. 1,\:1 ,...,,1 ,-I" I"", 1-" '''h f"I I () J'i ::1 I:J 0 .. 1,1'1 "1 f,LI Cl Cl ro I';:J I) "'h ,"" ""' lo..·lt 1.U (Lt ~:: m 1'1" ,:~" '"," ,,"I" -j, 1..·,,1 :::1 :;:1 ::L~ '~I 1'"\" """1·..,,1 ;"1 ',l) ""'" jo... ,~ .,< ~"'" 1'1" ro r.u :J' fi ':11 fi r::" . ..-\, !:IJ , I'D III In ..lJ 1.11 ::1" f1 ::J I.I:~ I'D rr.t ',. 1'[1 1'[1 .., n , I';" :J" ';::1 ,,-, Cl.. l,.,ll ?::: t:I /,1'1 1'[1 ~..rl "Cl :~ 1'(1 1·,.1, "",,, I,,"" 1.1.1 ." 1';" 1'0 J.rt I"'''' "1 1::1.. "'j ('.1 tn "1;:1 ",",.... 1"'" ::r.: 0 Cl "Cl 1'[1 "Cl C1 :C) I'fJ ""I 1'"1 I·..·... Cl r.:1" I,,,', ':1I (J Cl :;:1 ,.... E3 -, !:u I·..... "-\' '1 I:: -j Cl" N r"l, '''1 I·... ::1 :::J :::3 .-;~ """ ':L1 ::1 III ::1 I,r.~ ""I ,:1.1 ..", ;:r,;" "(~1 I'D ....:;: 1'l1 ,,"I" U'I 1.l1 1.(:1 I'D f,L1 1'[1 "'....I ':(1 ,~. 1'1" 1'"1" ",.11 1'''1'' I:U :::1 1,,·11 :::1" :::;i ""I .", ,I" < "'::t:;" ,,1" r.:: I·otll 1"'1 ~..II 1'"'" :...1, 1'"1 1',.1, ~r,:" 1'1" ,:U Cl. I'~' fO 1'1" 1,1'1 ':L1 1.1'1 folo '''j r.:t 1:L1 1"'1" 0 1'0 ,'"I" (U "1::1 1'[1 ::1" :::1 Cl Cl ""i ::1" :i:I :::1 ;'"" 1,",\' 1'[1 ::1 (J (~" 1"".1 '~ 'dO 1::1.. III I'tl I~I) " :::1 :1" ,"'I" 1'r.1 Cl.. ;;:1 ::1 III " 14 posturing ano rhetoric of ifnpact the national psycne= The Afrikaner~ long accustomed to the role of wnlLe supremacist oppressor~ was forced to re- assess his\her sense of selfhooo= of is g-ef lect.ed not only the mUSlC of the alternative Afrikaans composers~ but also lD e}~pressic:r:=: Grahamstown National Arts Festival~ a revealing index OT climate of wnlLe South significant shift in the focus of artists and musicians In an article entitled !!Verwoerdzs Kids Reject this shifti - :- - ~ ~-eSOu.nDeo ~Jith tJ.Dl. T .:Leo rreeoom~ , it. goose-stepped to t.he all-t.i.Jhite beat volkswag35=====here laid bare for a.ll t:.ne VerwoerdZs grown children - deprived of their human they are as anarchistic as hell=:====This trH~ festiva.l belonged to another of South " the disillusioned Af1- i kar~er = 36 15 Gary Rathbone also documented the significant surge of Af~ikaans artistic expression lD the late 1980s~ - , it. is rHLtS2C S int.ellectL~a_l notably in the works of Ryk Hatting and there seems LO be a Teel..l.ng of something new and exciting rushing through Lne veins OT Afrikaans culture: In an attempt to clear Lne language of all the muck it has accumulated over ~ne course OT Lne last 40 years OT Nationalist rule~ the OLtt ~"'iith .3., zeaI 0p~.l.fnl..Sffi:: .. ii37 of Afrikaans artists are of the radical re-appraisal of Afrikanerdoffi which is occurring; particularly amongst Afrikaner youth: The re- assessment of the cultural profile of the Afrikaner is p~oviding a voice ~or Dirk Uys~ manager of Johannes Kerkorrel, has observed this schism lD Afrikaans CUi~ure ano ~ne ways in which alternative Afrikaans music, and other Afrikaans 2~-t l5 voice new counter-culture; ,, nOHle a lot of t.~,ose nOfneless people i6 who have never been able to identify WlLn Lne current state of Afrikaans culture====What seems LU lS LnaL instead OT Afrikaners DeLng lumped together as one cultural mass WiLn.. : = Lne~ ~ same tastes~ a polarisation of attitudes is developing~ or~e Sloe -:t'nd Hannali van ~Laoen has documented Lne ways in wnlcn alternative Afrikaans has been appropriated Iyk in elk geval nle of Ole Afrikaanse jeug 1.5 [mainst"CearriJ ,, O.l.e neLa Die jeug se reaksie hierop het duidelik gewys daar 25 n behoefte aan Afrikaanse ffiUSieK waarby die jeuy gesJ.ag ~ r~e mL~SlCa.l. procedures employed in Afrikaans alternative i"""O':i"""". h-.. z r-:"-.r-z music embody the counter-cultural l.ffipU.ises felt =w.- ! the alternative musicians and Afrikaner youth = The modern procedures of parody~ pastiche and montage~ the follo!.:~ed the , . COfnpQSe~-s~ questicrn cDdes of the rfege'"0D.l.C 17 culture; ~nese procedures produce a fragmented response ~ r~egei11LqLl.L~ ~-:- .c.~.;.~.i-.~_.'_;~__ .• ;.-_~_- _'_••'.~_-•. -_-_-~,.' ;.-_o_v_~_-_-_-_-_l~ +_~"P_· l.~_l~_'_.J~_~ ~ ~_~,~irh -co ""Cfie _=.• . __ __ _. _lr 4 A_ the counter-cultural ·50cial disjuncture anD alienatiQn~ is decentered and without a defined cultural identity= In being divorced from the the Afrikaans youLn cDunter-culture has had ~o undergo a radical exploration of consciousness in its redefinition of self~ This nas in the adoption of a postmodern multiplicity of forms in which to convey their cultural resistance= H~Foster has stated that; ;J • - .. = = ::;: ;; ::;:.;3, ~! osL moo e~- r: .1. SlT~ 1.S conce~-neo i...... :i t.r~ .3. of tTadition" not an instrumental pastiche of pop- or pseudo-historical Torms, WlLn a critique of origins~ not a return to - to qu.es"L. .1. on codes:; to rather than - ,, .. , I ~~l.l.i l:nal:. Lne procedures of and pastiche give the alternative pop musicians a vehicle -; r -; - lC~en1..1. l.:..l.2S ~ Donning masks in an exploration of consciousness: Most wften~ hackneyed pop forms OT the mainstream are useD LU denigrate their 18 extra-musical meanings= ·3.5 I ~£Jill call 'Lne jLt}{t.a.posit i::::rr:s effected by effe!=ti\!e compositional procedure employed by the alternative musician= Uilier has described the significance of ffioDLage in the post-modern does or rather~ mounts a process in order to the to to .:-' = - TLtnCL.1.0r~ it is LO preserve Lne of consumerism for. the sake of maximum profit, L~ses music a~· a ver~.1.C le dissent and as a rally~ng point for critical These postmodern procedures~ I will argue~ are the mOSL appropriate venlcles Tor this expression of dissent and pop musicians resist all Torms of commoditisation~ unlike Lne composers of the mainstream= The alternative musician has I....S. l f· , ,. ...., I'~, :8 •..·h 1fI !:LI T' "1:::1 C.I 1).1 -h !l' ~ n 'D !:ll ::E !ll J:U (,U 1.1'1 1'1 ,J) ,...... ~ ....I ,....,1 ~"II o ::1 C/.I , "1 iu' I'll , I'"'' 1'[1 Cl I'D ....I ::r I·",J ~ :::j f"" '.~:1 I',,~. o m ",.,,, ...., .... 1:::1.. 1.1'1 '''< ''1:1 ::::1 ..", :::1" I'''i'' 1.1'1 ;:r~" n ~ 1::, I'"'' ",'I" ~ 1::1" Cl" I.CI , () /, .." I:: ::1" 1,,,,,1 f"1 !:I,I ,"'I" f[l ~ :~ 1'''' ·..·h m 1'1:' t::J f"1 I'D ."'. 1'[1 ::1 f'1 .( 1,,,1 1 ...., .... 1.1'1 I'D 1'0 Ci ::1 f-' , "1 ~~ • [)""" ~(J ::1" '''1 I "r.:1 L~ "~ll 1"" I'.. ~. .... 1:1.1 Cl !:LI , ::::1 I:).. 1,1'1 ft, §j " ..", -< ::1 n ro ::' J:U i.n ·"oh (1.1 1'''1'' .. 1'",.. 1'..,.. 1 , :::1 n ::1 j:jl I'u !:u (,I') !:Li 1-', I"'i" ,:1.1 U ::1 1... , 1",,,1 .. .. < 1'[1 "'1::: 1'1:1 ::J" I'''i'' J:U n) 1.1'1 ;: , 1",,·1 "Cl ,"'1" ::J 1'(1 1"'1" ~ (:1.. n I'D .,...,,1 1,,·,,1 I:)" 1::1.. 1'[1 1... (:r' 1·",,1 ~ ~ 1... 11 .., " ::::, I·..l· I'"'' ,:u I'D :::1" I'Ll ;:1 \.",01 :::1 < 1-' ,'- < ,:/.1 < ..< ~"" I"'''' ,'''1'' 01::: ~ :::1 r.u ::1 1'",.. !:I.I :~i ~ 1"',.. [I, I'[i 1'[1 1'[1 1.11 ([I '.J:J ..ll f[I ~ <: "..,,, I'D 1...,,1 ...... I "",.. t:l" !:U I'D f"Not 1'''1'' 1.1:::1 1"'1 ::::1" 1"'1 0::1 1.1'1 I'D m ([J Cl" 1'''1'' ".( :::1" ::.i 1,,,,,1 "< :::i" t::J !:u o"s::; Cl D" 1'''1'' :::/ :l~:' .~. 1'[1 I'D 1:1. :~1 I.... , ..~, ""j ..", ..,:) ;~;; I'D ....'., n ::3 1:1.. I 1'[' "i:5 n f"I Cl" ...., !:u '1;;1 "Tj :::1 ':J I..', I""" ::;1 ,'''i'' "'1 9 m 1'[1 :::1 ~ 1 1,1'1 I:U J"i ,:1.1 I::)" I:: I'D ,:u 1.1'1 •.J'" 1'1:1 1",1 o ""I 1'[1 1"'1 1'1" ~~J 1' ..,.. ..,.... 1:1.1 Cl .< :::1" "... ,r !:u ,:1.1 1.1'1 :::J :::1 :::1 "'1 ,". ~ "(:1 :::1 I:J :1" 1'''1'' ~ ...... , '''is ..+, :::1 Cl !:LI I'''i'' , :::1" 1...1, I'..l, ,:::1 1,11 I'''''' (Lt ~ J:U ..", I'D 1- , ',~I. ' m o Cu I··, ::::1 1'[1 1'[1 m 1'''1'' I'D I'D 1.1'1 I:J !:Lt ~ :::1 Cl.. '1::: 1'''1"' ~ 1'''1'' 1,1'1 :::j ...., ",.,,, ~ ,.< \".11 1::1" Cl o.... 1'"'' 1.1'1 1.1'1 !:u ::1 ITI I'tI ~ m I'D ::::1 ,::: , ..", 1'1:1 ::;1 1.1'1 1-', ...·h :::1 ::3 ~ :::1 1::1.. I..·..' 1).1 ."', I::).. 1::1.. n N ::E ..1" u::) !:u ::I;~ p ~ 1"+' i:LI l.n I""" 1'''1'' 1.(1 1.1'1 (.l.t Cl "LJ W :::1" 1'[1 I.fI I~I • ....., ~I ....I·, ""j ..' 1.../ 1 :~I ....i ::r I"'" ::1" ::1: I'D ~ " ... .1 :;1 o ~ 1"'1 ..' \.....t < I'r) I.I:J Cl 1'1:' ;:ti Cl ~ cr ,"'1" 1'''1'' "C' ~"r. f"1 ,"'1" IJI ,1 1 ,-,~ < .... 1·.,/· "4 m 1.. "'4, ;:0 ::1 1",,>1 I:: 1'[1 ~ ~( J'I) 1·,,1. , !:: n ::J' fI) ~ 1'..,.. ::I~" ,.... 1,,,1, It' :;1 :::r 1";" n 1fI "'1 1'[' ,..." 1''''.1 :~ Cl.. ::::1 ~ !:I) ( ..,,, n D f,LI I'D ::[;, i:f.j ::r,:" I.I'! 1'1" ::1 ::E '1'" !:Li m ~ 1'[1 1' ... ,1 .... CU Cl ~ n :::1" ....h "Cl 1.1'1 I'D 1-/" \"". u ~ !ll fi:i , !:u :~I ...., ~ ...... m '"'' "'1 1-" I'D '''j , I') 1'''1 1'[1 ~ ,..., .. , I.n r.:1" ~ :3 1.1'1 (). ~l 1'[1 I,fI (./.1 I'~' I'D ;~.. :'1 ~ I'D "ull 1.1'1 ::3 "0( 1-" ~ , ...,,J ::I~1f I.... (./.1 I'D 'J" r"",J ." ~ larger political ano criS1S in South In attempting LO establish broad stylistic categories in A.f~c ika~ar~s alternative popular music~ survuey of available recordings between 1986 and and a~-~- i vec~ d.t the aforementioned themes ctnd mooes of organization in - ,. mDst .l.mpo~-L.a~nL . , stylistic categories~ ~ parody; pastiche ana fnorfLage; are of the two major exponents in the HTrlKaans alternative music scene; Bernoldus Niemand and Johannes Kerkorrel= In the body of this essay I have reviewed the two albums \one apiece) released by Niemand and Kerkorrel in the period 1986 to 1990c 22 INTRODUCTION - FOOTNOTES ~~Die Boere Het Nie Hul Huiswerk !.:ieooer~ c:= lO.l.Oe t.o J anLla~-y· 18 ShaLi..D ~~Rocking Rebels Discover R .-~ ! CC~ to 5= Gary Rathbone, ~!Gereformeerde t~~oves in ~ne Afrikaans BILi2s :: 7 i988:= :--:. - ~. The Federation of Afrikaans Cultural ~OC1.eL~es= :_~:_!~!.T_:,.:.; .~.:-,;-·,.-_-.;.,...._._::>,n,,~ ::_",_-: .1-. r-. ~ - - D;LduLd~Llng LorporaLion. n Roll Headache for Guardians to 16 p=25= lDlO=- ~ - . 11;: ..Harrnail." - van Hok?~! lDlQc Tra.nslat.iDn ~ "By singing aOOLtl:. Deacnes, seagulls~ swallows, puppy love and rugby~ att.ent.ion is taker~ a!-~ay from iSSLteS in the relevant.. Ir~ -Cf1l.S light music alLlSLS help to create and promOLe a false cor~SCiQL~Sness=H t.r~e most ~. - ~ 15= 1[:=10 =: .l.rrco eyess She i say; I want to speak LO you~ tonight we must say 24 OLt~- goodby·es:? Tomorrow I Will be a soldier"::: She Right, )lOU go a.-no do your army thing: ~-Qll in Hannali van Staden~ Ibio= (mainstream Afrikaans popular music) 1.5 t.he the i:s::" a.cti vel)-~ Lr~e 19~ Ibid= " Ibid= Translation~ SftJ.J~AJhic~"l f.3ces a·-re seer~ ove~- ar§o over in programmes such as these? Those of artists L.""Jr.•= ~_-, ~_-. _1 -:""!;'.'.' ."=_ -_-,.:_~., .'_-.'.'_.'. r.'_ -,'" _'.'" r .""_ .__-: n,, n. C .:::; ..A: _...... - ~ ...... __ ~_ :r- _ ~ ; ..;: • ,/; "" - '. - _-~~t:= L~':.!..~~y~ - t-~~t:; OeaiJ.-r."'t o~ nature~ sunsets and fauna anD flora=~e 25 Ibid= Transla.ticrn :; t.he is nationalist secret socLe~y= Ibid = :- ~iThe intimidation that a~-e to .::i crying ·5hame~ Kerkorrel got threatening telephone planted his Particularly with the Vo~lvry tour order of the day= just HOL~tstok musicians at the Voortrekker monumen~ and on Church Square in Pretoria 5 National Intelligence walLea for ~neffi= The organisers of the Houtstok festival also received many anonymous and suggesL~ve calls just before the Houtstok festival and their telephones ~!The Critique Criticised: Adorno and Cambridge University 1982} ~ 26 of the r~2tL1.0n = A mother as cultural bearer: 3C~ = T~-anslaticrn ~ ana 31= Julia Beffon~ iEBles; H" 14 1992, ;,=.::ac:-1-i-.::::r: = ~ ':""'ri "=: "eO:' = folk oa:nce = feature is the dotted rhythm metre= .~.:-: .,.::~= dL~i le Beffon, ·':f.::.t = Ibid =: 27 p=22= Roll Headache for of the VDlkskultuur,i~ The Wepkly Mail~ March 31 to in eo. :; Press~ 1983j~ p= xii~ ~l= L= HThe of Post-Criticism,'i n F~oll fQ~- 31 t.o b 1989~ p=25 28 BERNOLDUS NIEMAND~ 1991 ~ames Phillips~ the composer-perTormer behind the pseudonym Bernoldus Niemand, was asked what ., motivated him to record an Afrikaans popular music alDL~m , -, at a time when no-one OlI1.:.Sl0e of the mainstream Afrikaans industry ventured into Afrikaans composL~10n,= He replied; HI came from Springs on the where there were heavy 2!::!§1 inen I I did At this point~ and at several others~ , mentio'ned irnpo'ctance of t:ne. experience of milita~y service ana the VlOience of his conservative Springs background: conservatism of Spring male life brought W1Ln it a ~./iolent insistence that he speak Afrikaans rather than English: Following the life became a central issue in Phillip~s life ana produced within him a profound sense of alienation: I suggest that LUe violence of male 29 e~T:bodied . . , ideological codes "LoO cc~r~t. ~-o 1 the !....JfilCn he :ne experience of disjuncture has causeD cDmposlLlons~ Phillips LO reflect 5 in popular music on Afrikaner gender constructs as he experiences them= particularly the second half of the oecaae~ saw Afrikaans cultural 1 i fe .-b:-e:i-ng::-- dO:T;ir~ated oy fI":ale expression generated Dy experiences in ~ne South Africa~ and the powers and currents at worK In ~L~ lS characterized by brutal candour = This is especially true of young playwrights currently writing in Afrikaans~ (More is 'n Lang Dag) ; (Dis AI), and Anthony Akerman (Somewhere on the Border) oeT~ne the White ~OULn African~ in particular~ the Afrikaans, psyche through military viQlence=!i~ The South African literary world was also faced with an emergence of worK which used Lne m1!l~ary as a meLapnor for the corrupt and unhealthy state of the Afrikaner and South African consciousness = The compilation of Afrikaans - - short TOCLtS1.f"sg on anti- Forces Favourites. one of the most African eightie-s; !: = = ~ = the fi"nal breaking out of the laager of an Afrikaans culture South African cinema saw the release of Darrel Roodt~s The Stick" a Journey into the horror of Lne debased in 1988= into 'Lne consciousness through the prism of military violence~ Phillips explores the White Afrikaans male experience: f The first song on the album, entitled 5 Hou My Vas establishes the military experience as Phillips POiDL of departure= Phillips uses musical parody ~o fulfiL a satirical programme~ a parocy idiosyncrasies and eccentricities to ~ mocks the original=! The stylistic mechanisms of Afrikaans mainstream popular 31 '- - . a~-2 useo setting, !..-J! !l.cn denigrate their extra-musical meanings: the vastrap = , l pLtnC1:.Ltat.eo concertina block- chordal syncOpctLlOns on the off-beat~ in the style of traditional boeremusiek~ A commercial country-ana-western electric rhythm guitar also features in the arrangemenL~ in of playing country-and-western / cliches ana snarL lD the American steel-guitar all functions~ uniformly on each beat OT the 4\4 bar~ The harmonic construction U~lilzes i-IV - I and 11 1. venLuilng beyond , - . chromaticization OO~T~1.nar~L se'...../enth cn!:J~-a = The !l1!:JSt striking feature of the formal arrangement is an awll-n1a.le a parody OT volkslied and mainstream Afrikaans popular song as e~{ploit-=ttion of ~~ ~.tr, cultural\gendered-- Yolk cliche r_,T.- th.. p----.. ir_•. tir-- l-LtgD'~l Mi5 amalgamation of similar commercial pop sDL~rfd5 ar~d / folk cliches supports a text which is ooth reflective of I::: 1,11 "i"j "I'" 1,11 I;) "r;) 1"" >.. 0,1 I·....' I]:! 0.,1 IJ'I I:rl a:! 1].1 1"" !:~ 1,1'1 ..\",1 ('Il ~: Ito..1 l"" r"'" 0,1 111 E: ..C.. Cl tJ "0 1"" ll"~ Il,l 1'Ij I'll U L,I III "1",1 !"" E= Cl I:: III C: I:) ',,,1 , ,.~ 1,11 !,," ,.., E: '1'''1 1",,1 1,11 'I"" Cl "r.:: r.: C] l.n LJ ,.j.) III U'I 0,1 ,~" 111 > !". "I:: I:L I '1",1 ...... 0,1 0,1 1,11 ..... 1,11 or, r.:n ", OJ IJ'I ..;:.~ !"" '. 1],1 "1",1 0.1 ..I") 1],1 1""'1 J,." "1:3 111 0,1 III ::.... r.: "I:) !- ,···..1 ,,,... ,...~ IV 1,11 111 .!") ::,1 "I"" ..1:: 1..1 , 11:1 I]j ~" c: "I:': Cl 0,1 1,1'1 ..IJ "'~ ..I,,) Il,l "j.J 1,11 1:;1 0,1 ..C: "I,,) I 1],1 ,~" ~.,I ,,.~ 1].1 I'Ij 1..1 L.I !,," 1",1 >., I:: 1..1 III 1J1 o,,,,! Il) ~.,I "'C) 111 >.. ·1·,1 11' 'd !,," cri C:n 'd ! ::1 "c: ::i r""-1 ,:: , "~) r·.. ·J >., 111 1""'1 Cl r.: r.: .. 0,1 J,." Cl" "I") c: l'I:i ,~",I11' J,." OI" IJ,I '1"'1 Cl. ·1·,1 11'''' 1'1:1 (U Cl 111 "....J '. 'I'''' o ',..1 ':1"~,~ " ]~ 0,1 1J'l ,,\.) e: ·1",1 1:':f1 "I,,) IJ,I "Cl '1'''\ "Cl E c." ..c: !". ".. ',,,1 1],1 l:l tt,··j Cl r.: Coo Cl I~4 1,1'1 ci I."" I".. 1.,1 0::::' c: L,I Cl 11"',1 I"" ,-i r,:J: "",I ;0""1 IJ.I .p J.,I 11:1 I"" 0,1 L,I \""'1 "" 1)'1 1"" I""~ "~,, IJ'I 1'·,1 .1::1 1""1 "1..,1 1,11 Il,l 11' L,I 0,1 r.: ,,~" ,,.1 "\,,. 1],1 ..::1:: I",! n 1,1', 0.1 1.t'1 11'''1 I,t1 E? 1..1 o I""') Cl ..1",1 0,1 '.·,,1 1"" 0,1 r'J ,,.~ ) .... Cl 1,I'i I..L: ill I'll o "Cl 11,,4 .1:) ~: 1:1" 1'Ij 1],1 ..Cl "C) 0,1 '1"'/ .p ill E= In IJ,I )0.. l1;i ,-, ",",I '1,,4 1'1,1 l'--.j 1,1'1 l1:i ,-; r;:n 1•.1 ,,1,.1 0,1 ,,.1 1 i" ;:. !,,,, 1)'1 >., !". ;.... rt! !., ..c:, 1"" Ifl "1- ,..~ I'~ :, -., !,," "",! r.) j"" U EE "~,1 I:il ''''''1 0,1 "e: r.:n .1:.1 Cl ~" 111 Il,l ,....i cr "~,) II"~ 1,1'1 CL 0,1 rt:i U'I )to.. ~.I E 1,11 ',..1 1)'1 1",1 11' c.: .1::: l1:i 1,,,,,1 .~,I ,,.1 ·1",1 .~) ,..'1 I:] L.I CL, 0) ::i EE J.:I 01 III 1"" I]j ill ::i ',..1 '1",1 OJ Cl E: 1 0,1 1,1'1 l1;i '1",1 ,C" ill CL cn .-i I;~, t::: !"" ,.-1 "1:;1 U1 ..::.:: "c: cri "C: m ,J:: ,.,...) 1],1 ",,,,I 0,1 C' ,,1...1 Cl 1,1'1 "1,,,1 Cl '....' I"" Cl 1",1 0,1 ::1 t::: .r.:: ''''\ "~,,I ~ ,..,1 "p .." IJ,I 01"'/ '1"'1 ',..1 ill !,," ..::t:: I) (I "p It'''1 ,."'1 "I,,) '\"'1 o !"" ~ ,,1:.:: ,....,I N::t:: :::., 0,1 0.1 1,11 U ::i :m: "I:) t::: !., I,t1 !"" 1",1 >., 1'''''1 1:1,,, 'I"" 1,11 n 1.1'1 '1"'/ "I"" >... t::t ,,.,1 Ct'· U t;;~ "I::; I::: ~. 1"" ',I"" @! n;1 III ~ 1",1 Cl 1",1 Cl aJ ..I::: ..c:: r'~ '1'''\ \" tI.i !, III 1:1 I;U 1,1'1 U 11,,,1 t::: ,~.I n:1 Cl I::n "', .. !{! ~ 11',,1 rr.1 1"'1 ~ "\,,,1 iJ.I t'U'", 11'''' ,,,1 "1,,,1 111 t::I I::n !"" I:::: !." "I:::: I'll 1::1., I"" '1",1 l:i:1 111 1,1'1 L,I 0,1 "C:: ru "C: tJl >.. ru "1·,1 I:.:n ::i U :Sr. Cl 1· ....\ 1,,,,1 I"" .1",1 11"',1 ,,.,\ "1,,,1 ~ 1.... It"·, \"" '1'''\ C:I >- I:: m 1-" 1,1'1 ,"" 1,1'1 "Cl cn r""1 1],1 1,I'i 0,1 ,," o >." o Cl" "1::1 \,1'1 In !,,,, l.n U I::: Cl 1,1'1 l'l;i lt'l 1",1 I,t1 '1",1 > :;1 I~" "'::1 11"" ..::,:: '..•..1 Cl ,,1..,1 11'''1 0.1 1],1 1)'''1 EE" l":C1" ',..,1 1"" '1"'/ Cl I:: 1",1 I·" 1 I,t1 III ,,::.:: 0,1 C "(;1 ',"'I ill III ::1 111 :::1 "1- "I:: o I:;n U" ~ ~ .. .. ~,:: 1],1 I'tl 1],1 ..I:;: ·1",1 l'I:i "j..! ill x: LJ Lt..! ! > r..)~ 1=: I 111 .., t::: III 1"" •....1 C,I U'I ,r:: ..::.:: !,," 1,1'1 111 LJ I'·" '1·..1 "1,,,1 '~'I 1" ...1 CL, '1"'/ ,-i '1"'/ I'Ij 111 I:) '1",1 ~ (I ..1::: ! .:;, :;,,", 1,1,1 (\.I 11;i "1,,,1 ..::.:: r~:1 1,1'1 ;::1 1- 11'''1 "p Cl. r-' 0,1 !". 0.1 Cl - ,,1·,1 Cl., EE "1,,,1 'I .r::: I::: !,," U aJ "\",1 1"" I,t1 C;I" 'rl > q! ~ .. ~,I \"" ..1",1 ',·,1 C" 1 ...·1 111 ~ I"" 1",1 1",1 0,1 ":1: !"" t::: >., 1],1 1'1:1 ~ :::i III "c:; >.. ' ... ·1 Il,l 1",,1 ..::,:: n:i Il,l 'f'" Q,I I,,,, "\",1 1:= 1,1'1 11",1 Cl f'" III !,," rt:i 1•.1 Cl '....·1 '\"" '1"'/ .I:l >... "I:: "I::: ,,1·,1 I"" (] ,,1:::1 'j""1 IJI 11:1 (] I,t1 1""'\ f'"'' m ..\,,) I:: c:I" "I'''' 1,1'1 11j III 1],1 I'J.I 11'''1 1"""1 !.... l.n ',I"" !"" "" o~'1 III 1,1'1 1,1'1 1,1,1 ""I I.." ',-1 1"'1'1 1",1 r··..l I,t1 In l'l:i 1],1 c.: I".. I:l >" I"~I ,,.'1 ',"'I 1],1 1::1 I'I:! ::;i 11:i I:] O:i I,,,, ~ 0,1 I..J 1"" I::: I:: Cl "of '",,1 I"" ',,,,I ~::I ·1",1 1'",,1 '1'''1 1,1'1 '1""1 ,·1·,1 1,11 l'I:i '1"'/ II"~ '1·..1 Cl 0;1 t...t IH ::1:: ..I::: I:r L.I ·1,,,1 f'" 11",1 "I,,) ~4 11'''1 r.: ',,,,1 ..::1:: ~". 1.11 .,C1 :::i U ,." II"~ ,,~,I ~.. !,,,, 11;i (] ,,\",1 'l"·f ,-I Cl "I:: '.",1 01 Il,l :::1 ::1 ,,~) ',"'1 "I::) Cl n;i E:: 0,1 ""'! .'-1 Ir1 I'll U 1J1 I"" "1:':1 c,: e: I1j ,,1",1 11' :::1 .1.."9 I'~:I 'I·.. ,.I:: I., '1'''1 ~ I'Ij rll 1'1;1 'f'" CO" t::t ';1 ",::: ,..•..1 "~,, 1,1'1 "1·,1 r,:3:: I:: l1:i 1",1 Cl rJj "1",1 1,..1 t" ~ E (,]:: I'l:i I:: features; much is maoe ot the double-meaning of the word "boom"~ translated either as and a VOlce is heard crying out; disjuncture in the consciousness of Phillips is thus maae linear narrative established tWQ verses disintegrates into a stream-af-consciousness montage of fragments in the third verse~ ~ne voice crying amidst a haze the identity of protagonist in this song; In this way Phillips highlights cc=r~s~= J..OL~sne==-=- to the male 1ife:e the arrny= ~n.l.S crisis in consciousness is a crlSiS of identity; Being moulded by ~ne collective hegemonic ideology~ acquiescing, .- . -: - ..: ." leaves the fabric OT l.rH.Ji"if1.QL~al consciousness rent= Re- examination of self ana re-definition of consciousness become paramount: Cock has nOL1.0r~ combat: is <=_~r_:.:-__1 .-_-:. -_f r_ ,,_,n, <=_. -1-._ ',- I.. ,.,-_ i._- _i. u- n, n -f lit -:. - -, ,', .; or: ..,7 .\.. - ~ ~ • '-" ~....J ~ n~d '::::iL"I-" ol:,. ..L ~ i .l.. t.. yr = :r. =- ,,;j" IfI ,:1: ~-::: 0+.) 111 0.\ ::.:: III III "C:I 0) >., III !". 1)'1 "1"" 1)'1 1)'1 I." 1,,,,1 !"" (,') :::i r.U Cl III """1 ,::: 1..1 I." i1l "I:: l1:i '1·..1 Cl 't'''1 Cl'l .x:: "I:: 1·...,1 .1:: "1:;:1 11 .~; J:: .C:I !,... I:rl ·1·) '1",1 't"1 111 ,~4 ",.,) "I:: ,= )1' .~.I .,.; ,,1·,,1 1:'; 1)'1 ·1,,·1 +, ..1: i1l .,:' '":. "r.:: :1 ::1 .;",1 0.1 IJI ,~; I.J .. ~:: j::; ,,,,,1 0.1 1].1 r.= Cl. Cl. Ul ·1·.1 I.. i:l cri ill I::: Il"~ I.. (1.1 ,,~ U'I .CI "Cl 111 C) I." C'J r.:. 1"".. !"" il.l '11 r.:. •.-j 0+,,1 ..c: l1;i J: L.I ·0 S CL. 0 C). 11...1 Cl Cl ..c: ·f.) I]j Ul "l". U', :3r. F.: 1]) 1:: I]j e: 1.1-, '~; 1)1 +1 J1i lJ :1 0.1 III 1]./ '1- 'I"; 1",1 1'1) C:I .j.1 111 cri I::: '".1 Cl 'T.:l cn !." >.. ';''' F.: 1:: 1".1 'I,,· 1::1 U'I 11:1 cri 111 11:1 ll"'} ".; I cri I:': E 13.1 III I1l Cl 1)'1 1"" CL Il"~ U1 Cl. ",•.1 r.: I..J III :::i "".! 11:1 ,." !- .1••1 .1.1'1 r.::: 11;1 1",,1 I.J 'I"; Cl 1)1 I:) U', !,," 1)'1 '~; 1,1'1 II"~ 111 Cl 1""'/ Cl ..C: !- r.... r.. ''':;I 11'. 1,1'1 ',,1 1,1'1 ,....·1 1)'1 ..j..J ". E: E: ..1:: ''''; (.... :1 Cl.. 1'~4 ,-I .;,,,1 I:L. in 1,1'1 1::1'1 ..1·,1 ...... 1 11'''1 1,1'1 '1",1 1].1 Cl III f'""" ~I ",,; ~ en I..J 11:1 "",1 (1 III III 1''''"" III "C:: 11:1 U1 1].1 11 111 ::i:: 11:1 ',,1 1""'1 !,," 1""." 1\,,,1 1...1 OJ 11.. 'I·· 11,,4 1.11 .r.: w. "1,,,1 !.". ,,1,,·1 "'''4 Cl ,,1·,1 L~: '1",1 ..... Cl "Cl ' ...·1 1." 1.1'1 r,::: 1,1'1 !"" I/".J '.1-.. 'd 1..1 11:1 l'~'~ Ul >" 1'....1 C" .1..1 COO Il.l 1.1'\ :::i U "I;) Cl Cl "I:: Cl ·1..) 111 1],1 Cl" ::::l "C) III 1...1 l1:i 11) ,,1..1 11J 'T.::i 1].1 Cl ....; C· .!.,I +, Ll.. 1,,,1 E:: 1"" E I.J ' ....j C" .1'.: r.:. C:' E ",.,\ IlJ C" U1 .1...1 1,1'1 '",,1 III ·,:1 11',,1 U'I >, "p .1..1 OJ IJI 11:1 Cl 1/,,'~ 11",1 1:: Cl Cl !- OJ In :::1 1"'".\ r.:. CI1 :i f.,.. J:J 11', ;::1 >.., 111 Cl.. .~) l·..·~ III >.. :::1 ::E: 11",1 lJ .,.., C'.I 111 E ., l1:i I.. I1l I'll "1,,,1 0 Cl I:~ E': -,·,1 '~1 1· ....1 U'I ~I'':0" !... U1 1"-1 CL. >., ..r.::: ..1-' 1••1 I::: .0 I 111 IJI E'~ 1...1 1.1'1 '1:i L.., ..1..1 :1 ::.:: C:L 1,"'1 1'1:1 ct l'r,i , 'I·.. r.:. ,,,,,1 1,,,,1 ::1 If! C) 11"',1 U1 1.11 l1:i 11:1 IfI 1..1 ::1 151 U I:: !... ;::1'" lE:: 1.1'1 !". I:': 111 1'1:1 !,," 111 ::1:: '...1 I 'I·..·' t'''''' :.~I Ilt,,1 0.1 IV ..1...1 1:1'1 J:I.I "1"" Cl e (:I ..1",1 ..1::: !." I''''~ I;:: "1·" ..I:: ;:.~ 1:1 ·1",1 0.1 ',,,,1 ...... 11', 1"" III 1•.1 Cl .c: CL. ..1,·1 13.1 ',-I I , III r",.,l f1:1 "C:; 1,1'1 1... 1...1 ·1",1 !.... L." :::l't, ·1::1 1...1 ,,1::: l'I:i 1""".. 1,1'1 Cl ..1••1 :::1 111 ::1 !.... 111 Cl 11:1 > I::: 1\"'1 0,.. !".. l::i'I 1,1.1 111 Il', "".,'~' 11 ,,~ ..I 11",1 1.... ,1 C:I !... ·1·,1 Il,l .Cl ,..t. ~:I::: ..1·,1 III 1"""" :::1 ..1".1 I::: ·1::1 1,1'1 1)'/ ',,,,1 " 11",1 :::1 1...1 "Cl 111 f""1 >'" \.1'1 >.., ::.:: 1)'1 >.. :::,.., 11.1 ',,,,1 1'''''1 11'''1 II"~ U +,1 1".." I:::: 1"" 1,1'1 tr, ::1 1'''' "C:I ..Cl ill !... "I..) "I:.:: l'I:i 1.1'1 !•• :::i \1.1 0,1 I::L. 11 U'I 0'1 " I::n C:, ,....·1 !... '.1'1 ..I,,) 1t'''1 .1..,1 1"" l1:i 1'''''1 1:1'1 .c: "".\ U'I 1'1:1 III ,"" !... ~l'., 111 n:i 1.1'1 1...1 ,,,,./ Cl Cl.. U'I ..~ ,.~ 1 ...·1 :> 11'. L.I Cl rri ..j..I "Cl I'll > 1•.1 l.n I:: Cl '.,1 0,1 1,"'1 1'''''' r.n 1...1 ',I'" r,::: !." CL Ul 11/ 1"" 111 ~: r 1'1:1 U1 ,.~. ) .... 11"'1 .~.I "Cl "I:'J 11'''1 1""1 "1-' il.I >.. 1-." "I:: 11:1 "/,,.1 t1:i.... U" 0 or, e" I". :m::: l. 11"'1 ·CI 1.1'1 III 1::1 >.. 11:1 '..1 ...... /:: >. 111 >.. (~. L.I •",,1 !... Itl C" r....1 , IlJ .:l:: 3:: 'd U n:i "1·" ·1·,1 ::i U LI I'll .!.,I '!~' c:l.. U1 I"· 11,,4 !... 1... 1:l I.!_ (I III C" •..·1 U'I U1 0 1],1 If! "C: Cl E= "1,,,1 111 "I·) !".. :l Ir-" ". Cl ,,1..1 fJ.I "·'1 ::1::: 1· ... ·1 (1.1 """I 'I,," 1,1,1 ::< r...·l "1·· I::n ',:l: ..I:: J''''~ r.:: 11,,,t ~: "1::1 .1::: .. cr.t :i ,,:~~ Cl 13) >'" ~J: ~:: 1,..1 I:) 1,1'1 1.11 1;) +, III '1,,4 ,,1••1 1"'''1 1•.1 'I-.. "I:) >" ..!".I ..1,,·1 ..I::: Ir,,1 1"" .,.; III lro") n:1 "1::1 > .1::1 0 Cl !.... 1"" ,"'i 1,1'1 1..,1 1". !,," E: 1("" ~, 11",1 1)'1 "\,,.1 ..j..I 1""".. Cl 1,1'1 "', 1"" !... ;::i ill '1..·1 11:1 ..1:) 11:1 "I.,) U ',·,1 11:1 U ' ...1 !"" 1:1.1 c;n ':J:: !"" Cl ..:~:: :::1' "c:: il.I il.I "(I ',-1 ~,. I""~ :::1 I:: 0.1 I::L, 1.1'1 1'''',," 1,::1'1 I::n III I::: "·'1 III I'''''' :~:: !... !." 1""" ~.. ~" 1...1 :::1 !... III I""" 1,1'1 Cl .. " 1"" :::i ..1•.1 "I:: l1:i ..j..I "I,,) "I:l ..Cl , 11,,,1 1".1 ..1...1 ::.~ III 1".1 III 1,1'1 11'''1 13,1 ..C U "j.! L,I 1.1'1 /JI tr. 1.1'1 IJ,I :::1 ..·1 r.n Il.l e:: 'd !".. n:1 1.1'1 !".. +) 1.11 Il.1 '1"1 "\,,.1 ~. c;n 1"" >... 1::'.1., 1 U'j "Cl I:) 11;1 Il"~ "1·.. ::.:: 1". 'j,,'J 13,1 ,,1... r""" I "':l III IJ'! III 1.1'1 'e; 1'1:1 .1:: L." Cl 0,1 'I,,· ::1 "1::1 ..1::: Cl r""l 13.1 I""t 1"" .1:: 'I·" 1"" :1 il.I n:1 I;) I'tj t""'~ I:: I·~· 1'1:1 LJ !.... Cl f:: n:i f'"'' LI LJ 1.1'1 r""l ,,1...1 I""" 0.1 C:r I::: ..1·,1 E" 1.1'1 e: Cl. I;) 35 Lne features of this style in a parodic fashion~ and using LL as a vehicle for a satirical text, Phillips is denigrating its extra-musical meaningsu Ir~ a siffiila~- fashion, Phillips uses parody as a primary 2J; 1 band "Snor City" [Side i band 5J~ Heart:: [Side 2 band 3J~ and !!Tribute to Jody!! [Side 2 Phillips draws his stylistic references from a very Wloe .:3. parodic portrait of the violence OT male life. A rough, distorted electric guitar is a metaphor Tor power in its block-chordal punctuations of the accented second and fourth beats in the bar= ~ne bass drum and electric bass guitar accent beats one and three in typical hard rock toms and U'CLtfff emphasize the beats and effect local climaxes by means of rhythmic , -;. :5 f i 11"3:! = inte~-estin:~ o e ....·ll.a-c 1.0n Lne blues-based harmonic progressions of hard rock~ starting on IV rather than I after the dominant seventh ,-I 1"" (I U'I --'I r'..4 ,.() ::.~ """1 C: Ul 1],1 III I '0 III .. +,1 11~ '_1 '~i 1T,i 1...1 :l III 0,1 LJ 1.11 .11.1 "J.J r.: C:I E C") .. ~.I E: III ~ I:) 'I'" ..1::1 i... 1". Cl.. 1,1'1 ..c:: .. 0.1 ..c I:) >., 1 I... I.. 1],1 'l"~ Ul 'e'l "·'1 1::1 ..l··1 ,,1... .1:: 1..1 i... Cl "I~I ..~) I~I ::) "....I 1' \ I'(i "...., 1:;1'1 11.1 C" .. I. 111 ,..'" :: ,-~ ~: Cl.. , , I1l 0,1 If: r.: Cl I1l o ~ .. ~ 1 ::.~ 11"'" 'F~ "1::1 I::: I.. Il) ..1•• ',..1 U U'I '.-1 I"·" Cl i'f.i l'l:1 1:1...... I 0.1 )- .1:: III C) III 1"" 't"'l !... no 1)1 11"1 IJ.I "~.I U'I III ,,,,.u. C· .\.,1 I_I III Cl.. ._~I:: .. ,... LI Ul 1I1 11·..1 ..1·,1 , IJI r.:: is U'I I:) f··: 11j , ,,1..,1 11.1 l 0.1 •...1 et 1],1 cn i 11:1 r.:: I.J Cl., ":l' b.. ll) ~;::~: 11j i? r.:: !a.. "·'1 I") ...'t." ..I:: "I:: Il"'! ..e: ',1"" 1"" Ul ,....,I ..iOJ 11,1 I.• Ul n:1 11:1 ..1...1 ,,1.. ,1 ..;.1 ·1..,1 o '""I c: Cl .....1 I)'l ;"" 1,,) I.. "1::1 +.1 '...1 > )to-, U'I Cl I"'''' >.. W"' 1:-·... ,),..J ,.-/ fa ,+.. I:: 11",1 "c: I1l 0.1 r.:: Cl Cl Cl I... I:ri .I:: 1"" 0.1 Ul 1"" m 1:1:, ill I:rl 1"",1 iJ.I 0.1 o ,"" 11:i >.. 1)'1 CL" '''''1 1"" 1::1.. "...,1 I1l 1'l:1 1::" ..C:: ..c:: ~ 1'J:i C) II"~ .. ::'~ '1'·1 ..1,,1 "I"" 1".1 ..0 Cl .1:: •••(;1 ) :::. , ~ C: ..c C), ,..... ! I) """ E 1.1'1 1J1 o ,-I .. ~:r. 1""..1 .. ~.1 !... :~:: o '~'I Cl. ::::1 I,ll OJ "t'l o 1_' = ~ )~ I""'l ...., ru "4 i.". 11"'1 !".. ' .."I 1"" " ',1"" ! "I:l ,....., !".. "1"" CL 3: ..1-1 0.1 ..I:': o C" Cl I... IfI He exploits the myth OT the fighting spirit of the powerful Afrikaans male, a myth pa~-t iCL~ 1.3.~-1 Y :-esor:ant historical moment I ~3.t.e The of .l.S aesthetically similar ~CCOff:panimerrt = is half-declamatorY5 using a vocal delivery which lS rough and without nuance~ ~ne pentatonicism of the melody of Lne verses is typical of the genre of hard rocK: The satirical nature OT the composition is revealed In the choruses, where the melody effects a stylistic transformation from hard rock HshoL!.ting blues:: style to fc~l k song m- vclksl ied18 juxtaposition of a folk melodic style WlLn rock electric accompaniment makes the macho bravado of the the more irrational and sinister: In ~ne choruses Phillips singS: !~Hiep hiep hoera! Jy s amper daar~ Maak nom ·wnlle Lne electric guitar accompaniment becomes ever more 38 distorted and rough in timbre: ~n~s progressive dirtiness in timbre is accelerated in the final ~ ,~ ~._ ~ ~"LS•: rept::ctL_..- - ..=.... U'I-'I.J..• "..:..LL~J....: J"""" J-.i.:: n .;-_ .'.- ...... =_-.._-:3.;- -._"'"'1 d -...~_. tu' -.:_ .h, ;:>_ ;r._,.•n_., ","L !.a.jM,.. , .""_ ..'.- P--i r._ disintegrates lnLO an anarchy of sound approaching the scrambled qLla.l.1.1:.Y noise= The anarchy of SOLtno 1S Phillips metaphor for the destruction which accompanies the ..../iolent consciOLtSness a hegemonic "Snor City"20 [Side 1. oano 5] Tocuses on another symool DT moustache: Phillips parodies the disco fusion S1:)l..le so as to satirize Lne Afrlkaner macho stereo-type embodied in the symbol of the moustachec A throbbing bass ostinato : • c ==ontinLtOL~sly LC: praV.l.oe .:3. fOL~nda.t ior~ the disco aesthetic = programmed drums DeaL out a monotonous emphasis on beats Tour of the 4/4 oar. The arrangement is fleshed out farm a syncopated counterpoint to the bass ostinato= The vocal style lS declamatory~ in cl manner which perhaps could be described as Afrikaans rap; , . l:.ne OT moustache~ with the heart of Afrikaner culture and 39 nationalist politics, Pretoria. Pretoria becomes "8nor City"~ rn?t een skoor~ DO Want dit is a~e stad meL geen 00 Want orals in die strate is daar fans van country- CQnfOimity is Lne foundation upon which the Afrikaans : :.: w - t - ~ : male genoer conSLrUCLlon 1.S DU.1.1La: It is a r;,;- ,:rr:_=+- ~c r = ...... ,.:;:':....:' ...... "--..t an acquiescent consciousness~ a state of unconsciousness = Phillips chants in a dark monotone~ ~~ eet" Q 1. TIr-: 5' eet:= 1aap = :Il = = c in This chorus is chanted a cappella, suggesting the hollow vacuum OT the acquiescent consciousness = The conformists to hegeffionic Pretoria culture are depicted as robotic passive consumers~ unthinking, without contemplation or kind. this song PhilliDS is suggesting that the nationalist government of Pretoria is built upon Ltrathi.r~king acqL~iescence= kind of is in wno wears a moustache as a caDge of acquiesence to the code ana St~3.te ideolc~gy= Johr~ soc.1.al ~=orlst~-L~cti.on of :'!pnnp!-':::::-~. __ . ~!=====in ~ne same way LnaL it is nUL possible to processes independently of iS~:5tj_es f~"T is not possible to study gender issues socia.l i-3 -~ssert.ing the construction of a male gender stereotype serves a social process: This process is the preservation of power for the hegemonic minority= n~~:-nrl':.J ~ _.. -- ~ OT a country-ana-western ballad in B~-oken ~ ~ ~ . oeconS'L;-uc't..1.on of the adolescent nature oT the most popular {in mainstream Afrikaans popular culture} song form sor~g 1.5 steel-string guitar and COUTILry and western style= The guitar is played in ,,,,, , 1:::1 "",,I I""" 1.1'1 "~1 ::~ 1'....1 "Cl "Cl -< "':1 :3 "':1 ....Cl 1'''1'' !:u :;1 i··' \ I·"" !:I.i ::1" 1'[1 :::1" ~u :::1" 1'[1 , ;:1 ""i :::1" 1...1, 1'''1'' ::~ ~ r.:I., 1.1'1 Cl .. m "I ..ll 1,,·,,1 I,""', I,n Cl C:: fi :::1" I:: 1'''1'' 1'1:1 1,1'1 1"".1 1'[1 \'''''' 1'''1'' 1.....1 1'''1'' I,CI :3 ~r.:" "~.,, [~ ~ .. Cl 111 ,:1,1 ....h fD ".."t . ".... Cl :;1" "I 1'[1 1,1'1 I,t:) ~I,I ....m, , :::1 Cl" ::::1 ::Jj[ 1"'1" """I ," 1,11 r"'- 1'''11 I,n ro I''''~ 1'1:1 [).. 1'[1 1'[1 ,.. I) I'~' CLt r,< I:;J Cl ::m: "Cl rt "[~ ::1 1'''1'' 1I1 :::1 "1 :::m: I""ot 1''''.1 ::I~" ...t::; n 1,11 Cl 1,1'1 ',11 lI'J 1 I.Il ::~: I'i" .,< 1'[1 I:: 1'[1 ?::" ~I::" 10",,1 1,,·1. ,,,,, ,mj 1:'" 1::1 ::::1 Cl ..""I . 1,1'1 1,1'1 '''1 1'[1 I'D 0" ;::1 I,n fi" 1,1'1 [) ::;1 >t~':: Cl ::1" 1'",.. "",. "~.J I'i" 1"'1 IT! Cl 1'[1 1'[1 "1 iJI ":1 ""l I,"" 1,1'1 -< 1,1:1 ...... :::1 m ::1" ::1" ....I:)", IT! I~I" ::r.:" "1;) "Cl J:J I'"'' 1'[1 I'·' ;::1 1'[1 I,n ',,,::: CLI ::1 Cl ::;1" 1'[1 ::r,:" I,n C\.I IJ:::I I'i" .~ 1'·'1 1'''1'' I;) 1"'\" ::1:;" < rtI ""h 1'[1 ;:;1 ::~ 8 I'D 1"'1" "..I, 1,1'1 ::,.. "':1 I"i" ::1" ..+, ,,"," ;:r,;" 1'[1 IT.! ::::1 1,1'1 ::1 I'D I,n :;r I ..< I'll ,~, " ".. 1'1:1 !ll :m: :::1" Cl 1£:' 1'''1'' Cl /'.' "I:~ , :::1 ::1 :::;1" 1'[1 IJ::I '!i:' ::1" ..~, :::;1" "I:) ,.....r 1""1 , ..I. :~~ II.::I ,., :IE 'I~: 1'''1'' ...... I 1,,·,,1 '" 1...1, I..•..r Cl f,1,1 ,:1,1 1'[1 1'[1 ..", ::1" I'i I) I'D.... rJ,1 ::1" ::;1" 1'[1 1,,,..1 ..", !:I,I ..", ,:Lt I,n 1'''1'' CI.i [:1 IU .1",1, !:u :::J , 1'..,.. 1 ~ ""~ 1'[1 :::1" m r"·,,t 1'[1 I;').. :3 "I I.... , ::1" < C/.I '1:J I·... ..II J.rt 1'[1 ,:/.1 1"'1" ::1 1,1'1 1'[1 < I,n j"'1 1,1'1 1'''1'' ~[ " "'.. ":::1 f,l.1 "..,,, Cl :::;1 ,.... 1''''1 Cl ....'llj ,~, 1'''1'' Cl Cl I"·..• :::1" ;::1 f"I 1' ..,,1 I"", ""10. n ::1'll I ::1" "1:1 ,'''1'' ;::1 Cl '''1 f[I :::1 I""· II.~ /'[I '....~ ::9 Cl 1:::1" 1'[1 '1 11.:1 ;:::t 1.... 01 Ul"". I'TJ I'i "1., 1"'1" ::1 ." I''''i Cl 1.11 [~.. I::: ::r,:" I:: Cl 1'(1 I·.."f ,.. :::1" I,n 1"'1" 1...1, 1·,,1, :::t" (I.i n ,'''I'' 1.1'1 ..~, ::<. ,~, "",.. I'D 1'''1" CLI 1,1'1 ,:1,1 1.11 1,1'1 ~..II I,n .....,1 :::1" ....i 1·,,11 1::1 I'D ""I 1 !LI IJ'.::I "Cl f,LI t·...... ,"" 1',\,1 :[:) :::;1 1'''1'' I-I I,n ...... n I::: :::1 :9 r,) r.::I" ,....>1 1.... 01 ""10. 1,f.:J :, .. t:) Cl n Cl I'"'; 1'[1 ::::1 '~,I 1.:1" . "'.. I:).. "I 1'[1 ~..II 1'"1" I::: 1"1" < ,~, ," "", I"'''' () ,:).. ,.. f r.J) r"I" r"l" ::J" ""... :;:1 ,.odl t,1'I t..,,·· I'''''' Cl 1""'1 '....,' [) ,,' ::1" I'D CLI I'''''' ''''''Cl ::1 1'1" 1'''1" ::1" Cl ,.... 1'': 111 1'[1 ':1,1 r..i., r"I" 1 ....j :::J IJ::I (.... , :3 ;,.. ~: .. r"I" CLI "1 ..< /"'''1 1"'1" f,L1 "'" 1·,.1, ''''~ I::/" :3 IU I'D :::r :::1 < 1'"1" ··.M1 I I'D I:) 1.':1.. Ul [) I'D ::::t :," CLI Cl CU ,~, -< r.:: I'D "1;:1 ,.... I,n 1'[1 1 ;:;:1 ""I" I,n I,n f'"I M" (:1. 1,1'1 n ::1".... :1> !I.J n 1"'1" n ':LI ::r ::J' , ""h 1'"1 1'[1 1'[1 Cl I-r ,-I 1 !'Ll ;::1 1...11 m !:LI ""I 1'''1 r.::I" r.: ::r 'I~: ::E: r"I" < :::1 1,1'1 r~' m Cl :::1 1'0 1'[1 ::1" ~ ..... Cl n 1£:1 f[1 C: 1'[1 n ::1 ""h !ll 1"1" ;[1 I I.n ,"'" ~~ ::r i,I'I ;::1 I,n f,u 1'''\'' r.:I.. "I I'D 1-1" :::1 I'D .... , I!I !ll ,..I, f,1,1 ..< ," 1'[1 "0 I'D "" ::1 Cl .t..... I,n ,.. I'D ;::1 « :::1 ,...,,1 I I:) ,.... t::I. ". CJ.. m r.u f[1 j:LI "-h I ;::1''''' I'D "t::I 1 ".., 1'''1 """ I,n ;:1 1'"1 ,,"'. (.LI 1-' ,,·h I.n f"I :;1"". (Lt n (::I.. !: 1""1 I,n I'll fi )'"'' 1'''1'' ,: 1'0 1'0 [).. I!I I :::t "..,.. ::r.:" :.(:" fCI :::1 :::1 [) ;::1 ""l I ...< I] n I'D 1' ....1 :::1 1::1 ,,"I" "1 t· ...•1 I-I" ro ,...... 1,1 0, r[I.... I'...... < ''''h '.J I'D iD ,,1:1 ,'" 1'[1 I',J , 11 '.... J.rt . f,1I I,n :3 I:: 1111 I'..... I'..t' I-~ I·'~ I""" 1"'1 I-I, ~"" ::E f,u r.L1 r"''' -l ::".1" '·1 ,,"', I'D ;;:1 1'..,.. 1;:1 ,~, ,"" :::1 ::1" ::1" ,.... :::r M· :::t [).. iD ::E: 1'''1'' " ~'". ::1 1,..1. Cl" I'D I'D 1.11 I'D ..< 1"1" 11 Cl. 1)'1 ::;:r 42 [Sic~e 2 band 4J is of ballad= It is played in a slow 6\8 tempo, with electric organ arrangement~ A D~ues electric guitar plays short oass line ana melodyE The harmonic structure follows a variation on the eight-oar Dlues form: IV I IV I7 vi l1. I 1.5 featured in a solo over one cycle of the eight-bar Torm= It 1.5 a typically blues style flattened In triplet motifs ana block-chordal :"n::i: ;l:-_ 1'="·_'<-:IlI..ri "'.' ::I The ~neme OT the dislocated and young ffia~e is extended in this song = In Lne first verse the protagonist expresses his broken in assemblage of rock cliches= ror LulS expression~ Phillips employs a highly stylized vocal delivery typical of r_~p_G_r_;.- fr_=r_._~. Srse,OfH;?-."=-d _i r!F':_'-_;- T_,h.. _1 '_=i...... • ~ _I 1:l"l.ffiOre: as, in the throat and mou~n, W1~n a minimum of recourse to ~ne resonating chambers of the chest and head~ii24 43 1 band 4J~ satirized male aggression and confidence~ This parody~ of a Slower rock ballad style~ is a satirical evocation of male self-pity~ , - -. 1. 'L.1.mes on phone~ And Lne voice said Jody 1S DOL nome= So I~ll never hear your voice again life~s so - it jL~s-t ma?-::es Just ~o see you singing the weoolng song= a Oh I smile, scream your name out so loud ? At. Lr~.1.S \/Olce~3 a~-e OLt't. intentionally ridiculous It is at. the fL~ll the self-indulgent is redLlcec~ t.o of Frith ana McRobbie Delieve that SV-.jagge~- rock belies a precarious and inadequate sense of the male gender identity~ especia.ll y~ ~~~ing adDlescence~ cases this fear seems pathological~ which reflects the fact that the macho 1'''1- 1'[1 1.11 "1'] ::1 f-I Cl r.:1" f'~ 1.11 1.11 ""I'. 1.11 1'1 !:IJ I"i :::1" ::< ..< I'Ll I'Ll :::1 :::1" .,< ,,"I" I'l1 0 ~~.:: !:u !:u Cl U:J ::~1 "Cl ~::J ....\ !::~ IJ:~ 1'0 .... ,,1" 1.11 I'LI "1::1 I'D ;:\ 1'''1'' 1"'1 1,,·,,1 D" , t/.I !:u 1''', :~ :~f ::1" 1.....1 I"i" I·.. • ::r.:" ""\ ..,,\ [jJ Cl Cl 1:1.1 '1::J I''''"' ::1::" Cl I.f! U1 ',n' , 1"'1 P.I I'Ll 1:::1 ,.....1 ...., I'D 1-'. ::1" ,,"," 1.1'1 1,,", I.n [) I.f! I"", I.f! 1·,,1. 1"'1 :::1 " I.f! "'" 1'''''' 1-'. 1•..1 1 Cl 1'0 1:1.:1 ,'''1'' ,n ",,~. ,"'I" ;::1 ..< t·.1 ..", 1.1'1 IU Cl ~u . ,,1" ...., ..,,\ 1.....1 u 1'0 !:L' fl ." IT! ::::1 Cl 1...11 I'l1 1'[1 Cl t"" ::1 !:u ..;, 1'''1'' ::1 ""f tu "lfl, n Cl iJI 1"'1 Cl I:J::I ....10. 1'0 u ::) 0 1...11 tu ..", 1''''.1 ""h 1;:1" !:IJ '.1'0 ;~ :::f () ~"'I . 1'" \ ... Cl 1:::1.. I..•..' ,,"I" .,< 1"1" f",11 1'0 ,"1" 1'",.. ~r,:" I::).. n:f :3 ::::1 /"'" tn ::1' 1-'. n:f f"I 1'0 [) 1'1" ,,"," ,.•1. I.n 1'[1 iJI :JJ 1'0 I.n 1..,1, !:L' < !::: "1 (1.1 I:~" :T ::1" '.1'1 :~1 Cl" :::1 1'[1 I:) Cf 1'0 n 1::1" I.f! fU 1"'1" :::1 :::1 !:1.1 !:u m ,'''1'' I:: 1"'1 1"",1 fl ""10. "1 ,:1.1 [) rrr ,,~. !:u 1'''1 ::1 "",.. '' The song employs standard stylistic features OT Lne Oiues lC:lOrfE = The pla:ys ber:t not.es:: nOLes= The bass utilises a fat !i¥Jide:: SOL§.D:j pla:-ling .=t lazy t~~JO not.es to t~~e 4/4 bEi~- on beats one and three~ In the instrumental DreaK an alto performs a blues-style enters the arrangement under the sax solo it orusnes sweeping In urban blues style= ..i: •,• f.1.1.!. DLtt the L :- _ ....! ._ •• ._ L! ~t== U! ~=.igg~t::'i employs the ride cymbal LO a gentle feel: Mo.r-a ~1--+ £ .1--i::) '-Z'"'-r ...."I.; "'-1-~1< ...... bIL!.es 12 ba·~- form. the progressions retain a blues melancholic ffiediant relationships and unusual chords~ in a ~en bar s t ~- L~:= t. L~ .~- e :a an iITlpressiori i stic jazz aesthetic dimension: I ntrOOLtct. io:: ~ I [I\.J\ IV} IV Verse;; I IV ii .1.1. vi : .'1 I VI , , introduction one expects 1:. ne . , , 1.:.n~-oaT.Y ·\/Olce OT d. instead of 2fnploying the Phillips s2ngs In a soft~ uncertain adolescent voice~ employing a thick Afrikaans accenL= This child-like perhaps consciously employed by Phillips as a satirical commenL on the excessive machismo of male blues tells of the dehumanising effect of capitalist worlO: !!Welcome to my car, limOLtsine t • t t- gasoline cenLereo DOU001!e Lined in black 1 ike a (~L~iet steam p le~=tse Excuse all ~ne drive-in debris The Marquis de Sade tr-~e sight. of the stains on my . bored the .Da.C~{ So corne stearfi 70.- the male : - ~ p~-oLagonlsL 5! isol~3.ted in i'nte-~-ior i5 of material relations which govern his life in an industrial capitalistic society= John Shepherd states; conceptualization as oOJecT.Ss - :: decontextualized from social relations implies the :: :: Ltr:CODLEs-ceo ~ The cai=~it-~l.ist sysLem objectifies people~ and so th~3.t they ca.n become part of the market too:; ~3.S objects so as to achieve uncontested, ine p~-c:t..~gor~ist of decontextualized from normal social relations; ..".... ; LO n:l my mind -c. 0 body= ;;..- .. i :;, 1 .~'"-~: LO to do things to them that no mind could ever do=!i Phillips expresses explicitly the extent to which the individual has no aULonomy~ the extent to which the 48 ~ institutionalized !~d.-=:-- COmp1.2-ce - . is ~-obbed of efr!O'L. l.ona i contact? lD a world where the decontextualised ana obiectified The SLtoject dieSm This song is not about sexual desire~ sex as Lne only discourse between alienated people: It 1-S - ~ : ~ 3.n sexL~ality ~Jl t.nOL~L CO;'TIff!Ltnication ;= ., . not mefncn- ies of DLit:. or; i y s-c.a..1.TIS on LUe back seate The car is the alienated consciousness; it lS the male sexual symooi which~ navlng been renoereo ~. L!Y objecti,fication OT institutionalised existence~ oenies the relational ana the emotional = In the songs which have been discussed, Phillips uses parody as means to comment on the social fneanings of musical styles in popular culture= In some songs Phillips incorporates more than one style in a piece, presenting the audience with stylistic JUXLapOSlLlons-. -. - WhiCh- - - ~1H_Lsical rnontage = ine superimposition of styles disrupts .. "Lne"y -3.~-e inserted, generating a polyvDcality of integrated s~Yles~ is achieved: 49 ~TiLtsica_l L~.se!:J 1:.0 aspirations of White Afrikaans ~OULn Africans~ a'D!..l-' t:.ne" trite conceptualization of romantic love in malns~ream Afrikaans popular culture: The song begins as a compLeLe paroay of a mainstream Afrikaans disco-pop love song; featu~-ing a. o-3.nk of synthesizers (imitating bells~ strings and French horn) . , . playing kitsch triadic figures~ a quasL-operaLLc soprano backir~g '":!"oc.3.1 and synthesized concertina punctuations of . , off-beatra ele~T~enLS of 1.:De effect transfonna.tion OT st.yle= D·3.SS line soor; beeernes in SOLlnding This oass souna is clearly a reference LQ Lne British New Wave bass style~ providing an aesthetic bridge to a . . . SLtdder~ ;~r:lcr; Dy means of the bass groove becoming more p~-ominent lTI the arrangement~ the dic~n aesthetic is la.te-si~-~ties contains elements of~ and producers an effect similar to, the sudden dream transformation in the Beatles~I'A Day in 0, , .. the Life. Above neaV.l.IY distorted 50 . - at this point. the T ar(casy DOL~l-geO.l. s !:society Sy word verhinder om so te wees~ maar dis This radical transformation is then SUOL~Y blended Wl~n the To§mer disco-pop aesthetic to produce a racy ska the offbeat punctuations are taken over by the electric guitar~s incisive offbeat stresses of fast urban reggae= backing vocal is now sung by Phillips himself~ this time lTI the style of a soul singer= Ska lS an urban music associ-~t.ed . ~ . . the fnL~si.c OT 'Lue DiSCO-pOp song is the kind of product approved ay the cultural elite and consumed DV the wealthy ffilOOie class. It LS significant that the shift Tram disco-pop to ska is in alignment with Marie:s releasing of bourgeois aspirations and her celebration of the values of popular n volksie, unce again 1..5 of .l.n a capitalist. Phillips presents the ; I ~ ~~nd i-cs atter!dant. se~{Ltal './alL~es as a cont:es-ceo in the music and text of the song), ar~o t.he 1ove ~ Bert.h •-,-,~,+-~~ ~r!e .~~,m,.~hn ~ c~.m._i _-~ ,,--~_;;:_t::::';:~:=. ~: cnnn_~~"""1:~ ..rlip-_=. n;'.f-~ ... _- .. dialectical whole:;: [Side 2 track 5] camp le;{ oeg1.ns by Lising stylistic features of the 201.(Jffi :;: The electric bass is in the pla-Y1.r~g riffs ~·Jhich emphasize DeaLS one and three~ on the off beat 5 producing sharp punctuated syncopations= __ -l la.ys e~1iphasi-3 on beats cl~!U four~ displacing the LtSL~al accents of .LLne• 4/4 bar. The 1!-f1~;T f1ff! ._:- . - , c~ffbeats LYL.L~-- •-- F -- -~.- above wr:lcrl a trombone plays a plaintive wail= Phillips employs Afrikaans with an overlay of a Jamaican accenL for the vocal delivery of the first verse~ It is clear that Lne contrived accent is part of a parody of the hedonistic Afrikaner middle class who enjoy the T. ~- !_! l' t -~ !! 1".- ~:r!- _1 "---.$ i ..._; =-_- '.:-:_'. ~._-. ._=>.-,'".•_,..,.~ ~-i:::i:n".: .1-;:-... ~ L' -- -- 0' i - .....! .:.,- -- ~ 1 - ,~--- - .0;-. -- -- - U':-~·7 Lf1t= =; ~f ~! ,,-... J:!..JJ.~!Y SOCla 52 This balmy cocoon of hedonistic pleasure is broken~ however~ by a SUDoen stylistic transformation ... The synthesized offbeat is taken over Dy an electric guitar~ the sharp punctuation OT the offbeat: t:.ne rollicking rhythmic cycle= The bass guitar breaks lDLU a buogie the syncopations into a slow-rock 4/4 beat with a moderate rather LUan sharp emphasis on DeaLS LWO ana TOUf= At this n~s feel ir:gs OT ffiL~St. In this:: , , , 1. could be having oayoreams, or~ 1 DLt"L if you COLtlu iT Lnere is a better place= Is there a better place? ff~ama tell Oh rnama!! , - .a }- -3.0 icaI OOiJ.~-geol s life ... The same OCCLt=-S 53 dissent and revolution in popular culture: Simon Frith stat.es tr-~at.; n====~ne intensity of the relationship between taste ana se1 f-defiraition seems pecullEH- rr~Ltsic: = = = = !~29 I believe that Phillips i~ momentarily employing the rock aesthetic as an identification with its revolutionary connotations lD this song= ~onannes Kerkorrel to be utilizes the rock style as a KERKORREL revolutionary stance stat.es; ---_:. ~ :.JL t:. seefns In cases tfJ represent an attempt LO drop OUL Tram Lne framework the CL~l tLi:-e lives se) comfortably~ and to search for alternative cognitive ana SOC1.ai. modes beneath and OL~L.S.1.Qe that frameworK====What results is nOL the urgent and stridently distorted thrusts of punk culture, but a more heightened awareness~ triggered (but not necessarily drug induced), of the Rock nas been documented to be the VOice of middle-class counter-cultures: Afrikaner YGuth~ define themselves through their taste Tor Afrikaans alternative are such cl middle-class counter-culture~ Tor alternative social modes OULSLoe of the Christian Nationalist Afrikaner cultural hegemony~ It is significant that Phillips cnooses reggae as a a parodic satirization of Afrikaner Shepherd maintains that the search for arso S::JC i-3.1 maoes:: attraction for hippie counter-cultures of the world views of dispossessed sub-cultural F~eggae is the , - , \lOlCe OT .3. 01.SPDSea Jama.ica: The Rastafarian philosophy~ which has its foundation in a doctrine of peace and the use of marijuana as a means to concen~raLes on the of Experiential here ano now= inlS is cl radical from the (essentially masculine) intellectual ,_~f. w.'~~_tp_;,-n." r_;_;."_~+_i_;.'.-P_= -_~ m,_.,.~_._=.·.~,,~ ~_-_,.+, t~n,.~Q~- ~~-:_1 m--~~~~~ • ~ - ~-~..... '.,' :- .• - : c"::::!'::1!i:'!.'t- ::: :::;.WLLa..E. ~"t='cu:..L.~ys, Phillips is rejecting Lne linear rationality of western culture in this song= ~-ock the ~n2re lS an electric gUlLar solo; followed by trombone solo, noe;:-: --:----E-' into the reggae idiom~ 55 loses its chcrus~ Lne verse and chorus structures sorH~ b~-eE~.k na~tLrce of t.he pop ~j i sinteg~-a~t.es = Voices the ffiL~sic-3:1 the break-down oT rational consciousness, arugs once again become prominent in the ,, \!Gcal L~~L.Le~~-ance = is transformed to significant are the frequent Phillips singing~ The song ends with Phillips speaking~ unaccompanied~ iiOh mama bring my COOl vibes~34 masculine consciousness of his social realm in this song= He sees of the from masculine rational ways of being; as the only way to find H~=o:ol a ~-tate of peacefL!.l co-existence with the woriu= Reggae has extra-musical which lend themselves to Phillips~ expression of his 1.1'1 n ,I" ,..."t "'0 I.n 'Wj ~:;I :r.::l ""j r"!" :~!:: ""I'. -< <: ,'1" Cl :.:1" Cl f"" :~I" rr.1 I·"', 1'0 rrl ..~, I'D 1""1 ..", I::: ....j .Wj ~Li ~tl ""h 1-' , W 0 ··h 1):1 1....11 1::;1" ~IJ 1"'1 Cl" "1 ,...... ,_d ~,ll ::;1" ,'''1'' Cl ro to...•• Cl ItI ro o. .~ 1",..1 n ~dl, ro U't I'ti 1'[1 111 ,,"I" ::t.:"' f"I 1fI :::1" ~ 1.(1 ,,"I" f"" :::1 f"I f-" ill ,,"I" 1'1" Cl I..d, EEl 1.(1 f1 ,'i" ::::1 () :,.. 1",1, ~1I 1'1" "CI 1"'1 ,'''1'' I:Li ~ 1-..1, 1,.. 11 ....I·, ::1 ~:: rLi 0 "1::;1 ::r " ,,"I" 1'[1 ::::1 ::1" I.n 1'0 ,"1" 1'[1 Cl 1''''1 Cl n 1,1'1 ::':; ::1 Cl !:u ,,"I" " ,,+, :~I ""j I,,,', 1'''1'' "1::1 1"'1" 1'"'' ::,.. In 11' 1·"" ""I 1.1'1 ::::1 I::: " [I ,,"I" r.) "T.) 1'[1 r.Li "1 1'.:1 I:LI Cl ,"'I" 0 ril n I:: " ~.." 11 ~ ,,+, ()') t.rI '''1 ::;j '1::1 ~",d ill 1,.. I"'''' l'J I'''''' f"" 1"1" '''h ::1" ::r ,-", 1'[1 (:L 1'0 1'[1 1.1'1 CLI Cl Cl 1,,.[' to I,,", W tu U1 ,'1" "" 0 Cl" Il' ""j f'" 1'[1 1'[1 E:I ,'''1'' ·04, 0 "n"t f-', :::1 M" I,fi "'" :3 I:: 1,..1, ,'''1'' r[1 ""h 1.0 f,Li ••1'. ""I Cl ~ i· ...d ::::1 U't ''''~ '. ro () "11 :::1 ::1" ""I I,"" f,tl r..·,of ""j (,..11 ".".1 \'oU 1 IJ:J ',1I .."I, !:u ,"'1" Cl .~ ,...,., ~,,-, 1...11 ::j ,'''1'' 1'[1 I:ll "'" "1:;:1 11 \."" Il' ::r ." r"'" ::r::, I,..f, :::1" ,"'I" IJ:::t ....j 1.1'1 .,< !:LI 11 IJ'I ::1 I'D rr.t 1'"'' ,,,,,,1 1'[1 ·04·, !:I.' ,"'1" 111 1'[1 I""of :;:1 1"'1 Cl ::::1 n '. 1.1::1 ''''j .~ ..., 1.1'1 I,,,', 1'0 ::1" f-', :::1 1"'1 Cl. !l' ""I iJ::J IT.! I'"'' I,,JI :::.1 1·,..1, 0 :::1 ....1'. ~ :3 '...::: r'1" I,n 1.1'1 1::1 :::1 ':LI E3 ~ ~Li ...., d'" ,'i" (:L f"" 11' n r.u i:3 fI) ,"'l" Cl I' d~ S Cl" I: < !:u ~tl I,"" 1.1'1 1'0 E3 Il' I'll ::j r.) :3 :::1" I'D 1,... ·1 11 "ooh Cl ""'"f-" ,"'1" "Cl ""j 1".1 1 ,''1'' I"", :::1 ""I 'T.J t::t" ..··1 Cl. Cl Cl '·h 1'[' il~" :::1 Ln 0" I.... ' 1"'1 Cl n I:: < ""'1 1:1.1 :::r Cl ""h ""j :::1 rr.t :::1" 1.1:::1 1'1:1 1"1"""" 1,1'1 IT.1 1::1 CLI "1 ::3:: :::1 ,'''1'' IT.I 1::1. :3 I,CI 1·,.1, ::1 1'[1 1",1 1 I,n 1:::1" ::::1 "< 1'[1 ~LI 1,,,1, ,:u Cl 0, !:u :::1 !:u !:u ll'l ~::J t:l u:::, I'"" I:::: :::1 f"I ::~1 ...., " t·..." ""j ::1 n E3 1,1'1 ,'''1'' Cl ~ 1::1" ro () "n ""j (i" ."1'. I'D 1'0 f"I Cl ...... 1, ~ f,1.i " ....I :.::1 ..::: E:I to I"'" ~ I:: 1'[1 I£J "1 ""i ~:~ ,'i" I·.... O~ C1 ::::1 11 1'0 111 1::1 ''''C '~I r"I" 1''1" ,..." ·1 :::1 f.L1 ro 1.1'1 I'[! ".."I ID I 1'0 n:J I,,', ~CI ::;:1 ,< " :::1 :::1 ~.:: 1'"1" ::1" !:U I·... • ""'1 1.1'1 r"r' -, :, 1'"'' 1...,,1 ::1 ,I· t:) r'1" 1""1 J1) Cl ,'''i' ,:t' I:: I:~ :::r 1"'" E3 1'1 Cl :::r m I,n f-" 1"'1 1.•11 1'[1 Cl !:I.i "l:~ 1'''1'' 1'[1 1,1'1 ::'1" 1.1'1 IJ:::J ,'·1" ::1" 1'''1'' f,1.I 1'0 1,,·..1 1''', ,I" t:) Cl -I; 1,...·1 ",.I, 1'0 l::t 1,,·1\ 1'0 ~::: 1>""/ ::1 :::r !ll '1::;1 I.... , :::;1 ,-;" () "1 "1 f ... • ,:u "< :, :, 1'"1" 1:;1 ,.'" !l' ~:: In 1'0 1.1'1 ::1 S L'J" :::r """, I'"" ::1 r.u 1'"1" I'D III \.....1 ,...C, In ...,,~ 1'''1'' Cl.. 1'1 ,.", III r,J I'D ...(1 '1:;) f.Li 1.1'1 :3 Cl ::1" , ,-t. ~.::I I'D :1" ""j ;'" e) f~' 1.0 .....] "1 ("I" "0 I·od l ,~I" () I'[J ',n ::1" J::) I!:l I:: !:u "1 in :, 1"'1 1.1'1 ':::1 I:;) 1'''1 n :::l I'D tn !:I.i 1:1 1'[1 "1 1.1'I 1'"1 Cl.. f,U ,.,,\.. 1,1'1 ::1 1'0 "-I, :::r l::l.. U'I "1 1'''1'' ,'''I'' '~h .', m " ~ 1'[1 t:l 1'0 !:u 1:...:1 ~, ~/~ "I:J "1 1 Cl ::1 fol' "£:1 1'[1 ..", 1'[1 J'f.I I:: I I:wrl In 1"" '!J ::::1" J'[J N 1'·1" 1::1" 1''1'' Cl Cl 1)1 ~ ().. ::.:: !:Lt :1 W :::1" :::1 U'I "Cl 1£::1 '1;:1 ,•..,.,1 1'[1 f.J" ·1 I'D 1'0 ::1" 1.1'1 ::r :::J 1'1 I'D f,1.I Cl e) ri" () ~~d I·.J, '.CI :;[ ,< ro :::1 :, 1'0 lJ'I I'D "1 111 f~' 1'1 I'D :::J 1'-" ".1'. ::1 \...1, ri" Cl ::r 1£) lI'I () Cl 11 .It.d'" 1.1'1 :, 1-" 1.1'I e) (J" f"I ...<: r"i" f-', I'D 1.1'1 :3 ,,"I" 1'"1" ~,.I1 Cl ""h ~u ~"" 1'0 ::1 r[1 1--1 11 fol' l"'I ::1 1'[1 r[1 ""I , ::1 "0 r.L1 r1" n Cl ::r:, 10"'" rD 1.1'1 ,'''I'' ""j 1'''1'' f,il ::1" I:J" I,n "·1,, :::1 :::1" 1'''1'' '1:~ 1'[1 f,U ::r Cl.. (n :J" fol' ..", f-', r,LI n ""i 1.,,1 1 , r,) "'" ::1" (:1" 1'"1" 1'[1 .. I.... • fO 1..,11 r[1 "..,tt I'D E3 111 Cl 1,1'1 ~ ~"" :::0 Cl I:)" "(J ~ ri" r.u C) '!J I::L ::0::" Cl ::E 1'[1 ::1 I'D ~ ro r.:: fol' r.:L :J" iJ::J rl ...... ,-t' :3 () :J" 1'1 r.u r[1 III :J" f,u I'[J ri" f,', "'" r"I" ~"" ID !:L' r.u ~1.' :1" J'[J :;:1 "1 ::1 Cl r.L1 :::1 f,1.i "'" ,.....1 f-" :::1 In c"n n I'D ::r f,1.i Cl S ~ :.' ,'''''' "'" to·,,,l S 111 (l'" J'I) ::1" I 1'[1 I.n m ""I'. I'fj Cl" r"I" !:L' Cl" .. " 57 to comfnLtr;lcaLe~· t.he the 58 FOOTNOTES c.~. Question asked at interviews with me at Splashy Fen Folk Festival~ May 1991= le Liiefner~ted ar~d Quite February 12 to February 18 5. Hans is Tops - Is There Still an ::Jamesor~ ;; "F'ostmodernism affine am playing war games W~Ln Lne best 59 10. Translation~ i!Its my duty and not my choicea Here I sits: 1 sit Its not OUT. I Don't speak OLtt u =: got her own gun too~! folk ffiLtsic Translation: !iThe Boksburg Bomber, he:s in controlc He leaves us unconcerneo, we need 16= The of black O}i-(.~agons:'i '-t..ne. drawing together and gathering of strength OT the Afrikaner nation: "Hip~ haray: Haray ~" 2(~ = T1-a.TIslation ~ !:~~loL~st.::~.che CityH Translation~ !!We are searching for upper lip====in Pretoria: Because that is ~ne Cl~Y no smooth BecaLise everywhere in the streets th~rQ are fans of country 22 lE sleep:; drink, get sleep: = = =in F:~-etcn-ia=!:i as Snria1 F=olity 1991}, p = 157 = ,~ ~.ir_.~.:nh_h_ip_·=. !!,R.nc.~.·. ~ -~ ~ 25z: S Frith and .. -- .- ana ~exua~lLY~,, 1" ~crp~n 1979~ p = 13 ~ 61 photographs in the magazines~ She is preven~eo from being the same; its a dream, its a fantasyc!! of f='1usic i! :'i in R Leppert. 31= Ibid= \; Cl" ~E :J:: ''CI ., "-i III ::1,) ::1 D :C> f~, 1'",. ~[ :j ., f11 r.~J ;n C.J fO :J. I) Cl ~.I ::1" 1'''1'' r.u !:L1 (J" ""I, tn ::1" "··i :::r r.1.I ill ro I) il.l Cl rD I'~, :lE "Cl I:::J.. 1'(1 ..< (J" ::1 III ·..·i tT.i :r ,...11 ,"'I" r;L. III ::1" I·..'" :l:: :::1 f"I fO !~: I'~· "...., ,••1\ 1-" m I'~' I''''t 1';" ~: I·..·, 1"'1" f,u "Cl :C:~ ...... I~ :~:;, :::r < , n I'~' 1'1) "1::1 1,1'1 ,", 1::1" 1,1'1 IT.i "·1 1"'1 :J" ::1 :J" Cl.. I!I !:L1 ':ll "Cl 1,1'1 I: 1.1'1 1),1 I'ti iJ:J 1'0 !:u m ::1 .- :;~~~: I,"', ".j 1.....1 ,...,,1 1 1..",1 ""I -I 1'[1 f'i" :::1" ~"'l 1:L1 1... • '-j ::1> 1'''\'' fll ::3:) 11"1 1,1'1 0 'JI ""I I,,", !:L1 ':L1 D :::1 ::\ 1'[1 ',Cl ",,1'1 0 1••11 1.11 !:u i:J] 1'''1 1"'1 f"I f"I 1"'1 1.1'1 1';" ::1 1,1'1 1£:1 1'0 ""j "''i ""\'1 III 1" (:1" !::.: ::~:" I:::: Cl.. IT.i 1'[1 1,1'1 1.:1" Cl 1"" Cl l..·11 1.11 ""I 1,,·,,1 1'[1 ~"l , < 1"'1 Cl" . '.n !::.: ::l~" 1'1" 1"'1 !:u ?:: I'[l "- 1.1'1 !11 I) 1'''\" "1::1 < 1'1:1 :::1" 11 !:u "0 J:t,1 :::1" 1...1, 1.11 fCI '.11 1i1 1'[1 :::1 1'''1 I::: !1I iT) ::1" 0 ,.,,,,, . 1.11 "Cl r.L1 I'll f,ll ""j ::3:) .,.... ?:~ 1:1" l'l. ,tI, ""j ""i Ci" 1, .." 1.1'1 1",1, 11 n Cl 1::1 :::1 1>.. ,,1 ill ~r,:" 1'''1'' 1'[1 1"1" n 1'0 ::r,:" ···i L.... , "1 1·_·/ ""I" 1.1'1 Cl ::r C) '1;:1 r.:: 't"... :~1 iU ::1" I'D f~' f·l , t:j') ,< "1 1'0 ::1,) -j "'" 1'[1 \... , ,-I" ,_I" 1'[1 '-1 ,J ::1" !:1I Cl" ...< III 1'[1.... n I) :::1 ill 1'[1 '1::1 1'"\" !:L1 1.11 I 1'0 ~"'I I:) 0 , ::'1" :::r I'D n rrl loO'''' 1'-' tJ:J 1.1'1 1.11 '1:1 ::1" 1.11 0" n I:: n 1'[1 !:u f"', ,., I) "1 "1 ·"1, 1'0 ::1 f'I) r.1I ::1 '-h ::',,1 n :9 ""j ,...1, 1'(1 !11 I] Cl 1'''1'' '.....1 'J::I m""" (:1 ',Cl " ....1 'tJ rT'1 1,1'1 0 1",..1 ...+, '1::1 ""j !:ll ::::1 '1) 1'"\" ,'''1'' ""I 1'0 1'[1 :::1" () ~~~ 1,1'1 ,...... ""I ....j ·"1 I,CJ ,:::1.. f[I CJ 1"1" 1> I~I::: :::1 . tl.l 1.1'1 ,.od, 1.....1 1",1, 1,,,,,1 1'[1 Cl J),I IJ::I.... ::1 '0,-<._, '-h 1111 1'[1 ,,,.,, 1,1'1 I'D .< 'dO ,:u :::1 ':1.' , 1'[1 ftl 1'"1" ""I f[I ·rl -1 t::1 I'D Cl.. I""" m 1.11 ''''/ ::J" !:JJ I·,.l, ""j ""i Cl 1:: I-'~ ,'1" ..< 11:1 1.1'1 1.1'1 1,11 !:LI ::E: 1'0 ~::I ::'?," 1::1.. !:I.I "1 1)'1 ,:1.1 I'll ""I :::1" ::::1 Cl 1,1'1 ,'·1" r,'"', :::1 f11 I'D :~:I 1'[1 ::1 1::) 1'0 Cl" 1:;:1" I'tl f"I 1·,.1, 1::1" 1,,01 1 I""!" .,< ::1 1.11 1,1'1 '::1" 1::1" l:j:1 n 1'1) Cl 1.1'1 f~, 0< 0 ::.1" I'D VJ:I Cl 1'1'1 ..\.... I:: :J> ,", rD (- lJi f.1.I :::1 ::1 .-1., ""I ,_J n III ;lJ I'D ...... 1,0 ::l ..", I-J n "'" !:u IfI f':: , ,"" ,-I" 1-" I'T'I I,ll ,-1" 11':1 ::::r to..I , ::l 1'0 1'0 f,1I :::r :~1 "T1 f'i" '''< r.u 1'0 I;J 1" ....j :'I~" 1.::1. 1''''1 1,1'1 \...... 1'0 1£:1 (:1 ''<: "..... 1:.':1" Cl .4, "'1 () I:) r.u LI1 ;:r,:1 ro ;rJ ,~, ,"" 1-' !...I, 1:.':1. I'~' n 00+, 1,1'1 M" :::1 :9 1,3::1 Cl f"1 ", -I ::!~ w -j 1.1'1 ,"'I" :.~:" f..JI f.U I::: ""j Cl 1'1'1 ro ::r I'D n .- J.Il ,'''I'' rrt ,'"1" 1'..:1, 1.1'1 m "1 ,_J 1'''''.1 ::1 -'. I·... , n fT1 ,.... 1fI ::1" ..0 ::1" ~..II . 1,,01 1 I'tI CJ.. 1''''" ::r.;" 1::1" ::1,) f'1 III 1'"1 1'[1 I:: ::l I'D ,"'r' ", 1'1· (1.1 '_I, rrJ C:l (:1. I'D I::: I'tl I'D I·..l, r.1.I ""I J.I'i :::1" ..Cl :::r 1"1'1 I'D 1::1. "r.:1 ",,,1 ~ ..,.. "..." ..", ""I ""I .. !:I.I I:: . I'"" ....h ,'"1· ..< :~:I :~1 tt) " .", 1::1 ,._,,"'.. 1'0 ::1" "< n I,I'i 1'[1 I'D 0 !: I:) Cl 1".. 01 Cl.. f[I ''''I (:1" 1""" 1.....1 ~:: \.... , ""I f"I ::1 1.....1 ,.< ::1 \...l, 1:::1.. r.l' ""I 1'-" Cl ::1 ::1 ::~;'" .1'" 1'..\" f[I ::1 Cl 1'''1" 11'" 11',...,., :9 -, Cl "1:1 L':I.. 1'"1" 1.1'1 f.1.I :9 I... • 1'''1'' ,"" to 1.1, 1·....1 ::r tl':1 1'0 f.i' 1-\" ::1" r"\" (;I ,'''\" Cl I.'J ,.cl n ...... 1'0 I:::J. r-l" ::-.;1" lfl ,,,,, f!1 ,,-\., I'D n I-~ :::r r.:: ""I r.u 1:3:) ~J, I.... , 1" I-to III :::t "1 :.~:" fD tU 1'[1 ~ ..II "Cl :r.~ Cl tn Cl ''<: I'''J ::1 .() r.:,.. n r.u lJi ~~ :r ::l t."l., ,_J ro f.U'"" n "C' Cl ro (JoI ::l I'tI t~J !lJ m f[1 1'0 11' ...... il.l I'D ... t'~: ,-+, CL. ....I Cl.. r.: .. 1.11 1,1'1 1.11 1<"'" 0" ,.... ,"'1" I-' l'l, -1', 1.1'1 r.~1" r.ll 1'[1 J.Il 1'''\'' ~E: "I Cl ::l -j ill ·"h r.: lfl 1-" ,"1" 1'"'" ::1" ~.II 1'"1" ,'1" -+, 1:1 ::1 iJ I:J '~~: ~..ll 1:1 ::El ::1 ,~. ::1" t1.1 1'4" ::r ::1" Cl f'1 I,..::: 0'" r;" ~-:J 11 ::1 ''''/ . ill IX) n Iti 1'''1" ::1" 1'[1 1'[1 ""j :':;.. ::;1 I~ 1'1,) 63 the manager of the Gereformeerde Blues Band maintains that rock n roll provloes Rabie with a musical vocabulary wnlcn is suited Tor the delivery of rebellious tr~e tT~ofr:ent at =:I need to be inspired. cure for this malaise, as far as the alternative rockers is a healthy lnpu~ YOU can rock n ioll lTI Afrikaans~ It doesn:t belong to any specific CUL~ure any more, but has become d universal .l.S 1:.ne explicit agenda of Gereformeerde Blues Dano~ rock n rDLl In their approach to the cultural Lorpor in it is ultimately the message which is more important====:they see rock n roll as more OT an The message to which the Gereformeerde Blues Band is committed is one of revolutiwn~ of radical social change in South Africa: Rock :n roll:s rebellious connotations In 'T.:t IfI 1'''1 ..~: tY,) ::1" ....·1 ..< U1 ~E: 1'1:1 ;:1 trI :1> ~.~ ~u ro :::r Cl ~"'I ::r Cl r.1.i "·h ~L1 ::r Cl 1:;1 III 1.0 1'[1 r1 1'''1'' !:I.i ,.,,1, ;;1 ""I 1'[1 ~:: 1'[1 III "1;:1 ::r.:" < t·~ "'" 1'[1 -, ::;1 I'"', r.:: ::1 n :'I:~' ...11 I,,,t, ""I r"l" III ~r::" f£I Cl !:u f,LI 1)::1 f-' ',11 ::1::" ::::1 I'D ::::1" III I.I:~ :Ei f",..f 1'''1'' 1'[1 ;:1 !:u I.I:J I:: :L) ':J.. III 1"'1 1'"1" ':L1 '" ll'l :~:) !J.' 1'[1 1·,,11 11 1.1:::1 !:u "1::1 .."I', :::1 r.: :J" :::1 1"'1 !:I.i 1'0 1.1'1 1,f1 0,,- I·..', 1'''1'' ,'''1'' :::J Cl !:u :::1 f,1.i 1.1'1 ""I 1,1'1 Cl.. I""" f,L1 1::1.. Cl Cl ". ''"'' f,'" :::r 1·,,1, 0 I..', ;;1 1,1'1 1.1'1 I::r ""I ,'''I'' 1'''lt "1::1 ,'1" 1'''1'' 1"'1 .... "0 Cl 1..,,1. ::1:;" ,...... 1 :::1 1::1 ::::1 I::J.. I'''''' Cl I'Ll I'D f,1.i 1"1 0 I::: ::J I'"'' ::1 rtI Cl 1'''1" ""h ':I.i f,L1 r[1 ..", !ll W ..", ,,·0 1'''1'' !:LI f,ll 1.1'1 ::::1 "1, I"",l 1''1'' L'LI n 1'[1 1'''1'' '. 1'[1 f~' Cl ::1 ." 0'" ....h 1".11 r.J f"l" 1"'1" IfI ." 1::;1" Cl . ':LI I::) :::1 ..", n ::::1 :::1 ""loo I·"f, f,LI ::3 '1:1 ,...ut 1'1:1 I'D f"" I'~' ::I "[:1 1.1'1 I Cl 1.11 ,.~, ....,.I 1,11 I-I" ::1 !ll ""I ""I I'~ :;:1 ,,,",1 1,1'1 r..n "r.J . ""I I'i ::r < t~ f,LI ,"'1" ....~ ...< CJ er ::::1 '1 ro f~' 1'"'' r.:: I·,,', 1'[1 I) !: 1''1'' 10,,1\ 1'1" :::r 1'[1 1"'1" r[1 !J.i 1'[1 "1 r.:,. 1'1" :3 ::::1 L':l.. I''''~ "..... t~ 111 :J" 1fI ...< 1'1 1'[1 ::9 I'D "1 1'1" I::J" f,LI I'D ,'1" ..< I'D 11 M' 1.... ,1 1"'1" n III I'''''' Cl 1::;1 1'[1 1::;1" 1.1'1 ill I'~' f"" 1,...,1 '1 :J" "'" 1'0 f,: 1'''1'' 1'0 ~ ,'" ;, 1'0 ,'''1'' 1"'1" I.n f,LJ 1'[1 1,,,1, ..Il .,t, '''1 I·", 1.1'1 ':11 -, -< 1::1 1'''1'' 1.1'1 1'''''' "''j I.I:J 1.11 I''''' 1'[1 1'"1 1"1" Cl lil 1'''1'' ::1 f,1I ::r I'D 0<: I'D ::1 r.L1 1",1, :::1 CJ 1:1 ,...,, 1-' ....h :::1 ::;1" 1'''1'' 1.11 f,LI 11ft ff.I 1:3 ,:u "1 1-" t",,,1 ::;1 1'"1" 1,(:1 'I( Cl :::1 IJ.I f[I Cl (,:1" ~F. :::1 f,u ..:;; )'''{'' """,,f I.CI :::1" !:I.I :::1 I'f.I 1,1'1 11"1 1'''1'' ::1 (,~I ....I'D, f"I "1::1 ,:u 111 1'0 :::1 ::1 r.:: '~i 1.r1 1'[1 1'''1'' ',11 1'[1 -< fI) "I::' ':1.1 ""I 1'''1'' I::l. INnol "'I~ 1'''1'' Cl.. f,:: 1.11 m I,..'· ,,,.1, :::1" ""1 1'''1'' .... ::1 0 I,,' • 1.11 Cl 1.11 I'.,l, r.::J.. Cl" :~ \,,"h I'Ll ,:::: 1..." :::1" , Cl f"" f,u 1:3 !: !:Lt I,"" 1'''1 1",,01 "1::1 ...0 ::1 I""" 1'[1 ':LI '''1 ("f [1 ll'l 1:J <: ." ·..,h ...., r.J) I~I" 1"'1" 1'1 !ll IXI 3f.: ::3 I'f) I'D IT! 1,..1, I'~" M" :J" :::r !:LJ 1"'1 () "0 ::1" ""I 1:3 !:u f,LJ ::1" ::, 1.:1" "1 1'1" In 1:3 !:u 1'[1 I:: .~'" 1'1" ::1 f,u In I m Cl" Il' 1'1" (J 1'1" I'f.I a I'D :lE (:1 .. ..< I'D 11 'dO "I::' "'1 1,11 Cl" ::I I.n Cl ::::1" 1"1 I'D "1 1,1'1 ::1" !ll I·"', 1'[1 Cl. "1 I'D . I'D ..t=- :L~ ~.., 1,11 f"' (n I·", Ifl Cl 1.':1" 1-' lI'I !:Lt 1"'1" iD Cl "'" 1'1''"'' 1'''1'' Cl 1·..l1 "1.:1 I""" 1'0 I'~ r.:l" I;) 4', t-., 1'0 :::J I:: I'D ::1" ::1" I';" :.::1 1'''1'' "1 I'D I~' !JJ f"I f,LI "1 ""I ~,oI ~ I'D 1'''1'' I-I" I'D ::;1" I,n a ::1 (;) ::::t I''''' a f"" "+, t.I1 :::J :::1 f,LI :J" ,....., I'D :r 1::'" I:: 1j::J !:u ""j J"'I A" 0 1'1" f,u I~I" ""I" 1'[1 G') f,LI I:: !:II In I'D 1".. 01 1'[1 ;" !:u ..", ""1 1'"1" 1j::J 1'[1 (;) ::1 1'[1 ,,"h 1.11 1'1 :::1 :t: ..", 1.:1" ::I I:: ~:j" I'D (:1" :r:l "1 (j" "1 1';" Cl 1'1" 1'.:1" 1'[1 Cl "(:1 I'D 1'0 ", .."I ;~:I n 1'0 ""I', I,n 1'[1 r[1 ""I "'" . !:I.l 1.1'1 I:: Cl,,,. '. ""1 M" ._, P,I ..", ,,+, I'D I'D ::l~" '1::1 lI'I .,t. t<,mi ::1 f,LJ l: jE: j..... "1 (:1 ::I 1::1" 1'[1 ~..II f'I) ._, ""1 0" "1 1....1• a f,LI 1'''1 f,LI f"'· ..", !:u ""1 ~nll t.X:I ::I ""I -h ..", Cl 1'0 I'"'' 1'[1 .,~) 1'1 '1 r.U £:1. 1'''1'' ::1 iJ:::J 1::1 1,1'1 r.: 1'''1'' m 1-' , Cl .""r.: I) Cl" 1'[1 ~, 1'[1 (..11 A III ::I f"" 1,11 1'[1 rCI n ("f 1'''1'' ;;1" (1. 1'''''' -I i,I'I "...., " 1..",1 f"· ~:l ::I lW, iT.I 1'[1 :.r.:" Cl 1'[1 ~~ :::1 tm' 1I1 In 1,1'1 1'0 'J.i f"" "'" -< r.:1" • . " 1.11 :[;:. It....1 "1, (:1" 1'0 I'~' ..< a ,'''1'' :D f.LJ ::I '-h 1'[1 '. ::I ""I" :::1" ,,11 In (J') I.n ""h ..", a -I -, M" !:Lt ::I 1'[1 1",1 1 "of, 4', f[J M" :::1" :3 ~, t.O< III ::0 !ll f~' 1.1'1 Cl ::::1 Cl.. ::1 ill r.: :::1 I) IJI lrl t.I1 ....;:: :3 (_I. ;.~" to" I::: I.n !:Lt A tJ:l r.n ~ 1'''1 "1 I'.J.. !ll 1'1 (._1 '1 Cl 1"'1" :::1" Cl ~: ..(1 !ll 1'[1 :::1 ..Il 1...1, Cl ,:1,1 1'·1 1'1" I::: Cl f"" (,:: f,U ~, ~:: I,n (..11 ::I f1 (,U 1"".1 :::1 !J.i :::r 1'0 1::1 1..",1 1'''1'' 1"1" :::1 Cl 1"'1" 1-" e:, 1'0 I'''i'' Cl" r.LJ 0'" 1'"...1 .+:...... ,.! t"" 1,(1 I·..... 1'[1 1.11 ""h \.....1 1)'1 :~1" 1'''1" ::;1 ::J" Ii 1,11 "1 a 1'0 1:1" 1.11 1::1" Cl ':LI "["I ~E I:)" ""I', "4'" :::1 1)1 .t'J "I::J 1.1'1 I:U 1'"1" (1, lI'i I·u'l "r.:l 1'''''' n ~u 1'''1'' ('" i:::' m ::1 :.. i:, ,:u o Cl r[i" Cl ~'I,I ::r 1'"' :::1 :::r (,I.i Cl Cl" ""j :::1" Cl ::~ ,..,.,1 I·... J .... (,1.1 ;:1" ''''j r.n n ,"1" Gi n , ..< .;;) 1::,.. itl ::1 f"I 1'[1 ro I'D ::, ~J. ~~I ", ~E, 1'''1 1'''1'' ..< :~r 1 [; 1,··1, 1... , ,:1.1 1,1'1 1'[1 ILJ 1''''1 ::1 ,_,.< I'D I'D ::1 Cl ::~:" ",,' 1'1" n ':Li 1..,,01 I·"" ""j IJ) r.:1.. f[I I'D 1'"1" t'a,l. 1:, 1,11 r.:I" .I::, I'l,l ""j !:1.1 I!I""' 10 :::r -j (,U "..,,, I.... '" 1"1 :~ 1:) ""j 1'1" 1...1, 1"'1 ,,[I ~;I o I::' (,:: i:11 ~",. 1:1,1 I.CI ::I J'[I Cl ~"' 1'[1 ,:J,/ rJJ 1'0 1'''1'' :EJ Cl ,.< 1'''1'' m :3 Imf" 1'[1 1'''1'' ::1 ':1.1 1"'1" f"I 1·",,1 1'..,.1 "1 ;::j.. :::r ~..rl I:: "0< i:ii I::~ rl" ,,,,,, "1"" 1.11 ::1" :::1 (,1.1 ll1 '" 1'[1 :~~ .... "r.::1 ,,00/, I,n ;~~ :::1" 1/:1 ::l I,n 1.....1 1.1'1 :J" ''>t( ~Li ,., I'D ':)" CL. "1'1 :::1" (,u I'IJ ~U .... f-~ ""h ·.ot~: 1'[1 1'''1'' 1.< 0< ll1 1'1:1 "'1 1'[1 1'"1 ::~ 1'"1" 1'''1'' ::::1 ::1 Cl ::, r.:I" fI) I'"i I:)" 1'"\" I,"', ::1 ,.1" i:u 1'[1 1,11 :[;:. 11 1.....1 "~ in ff.I ::1" 1,,,1. r.:: ::J" ;:r.:" ::1 f"I o ..0( "1 ,,"', 1,0._, rtI ~~, 1'''..1 0:1 ...... 1 1·... ::1 1'....' I'ti 11' ;3 ..", ::~ "'1 1"'1 1::;1" 1"'1" ~L1 Cl I,n !JJ I"'J 1'''1'' !lI i:u ""I 1'1) 1.11 1,1'1 ,...11 Il) f[l Cl :J" n ("I" f"'· ItI I..·"t 1"1" 1'" I,n ::E :::J iJ ~':J r.:1" '", (,u f"I !),I 1:3 ::l ("'" 1'[1 ::, :1" :;;:1 ItI 1'[1 :::r "'" 1,1'1 1 1 !:Li Cl.. 1'1) ::I !ll 1'1" 1'''\'' :J" I:~I ,...,or ,.~;~: 1'..,,, .."" :::1 1'[1 fI) ,:1,1 ' ,,1 Cl Cl.. 1...11 ',,,1.. I"f· ,-I" I'D ""\', I,n ::J" I,n "I> Cl I,n 1::,,, :::r :::1" ':11 rl" Cl ,...,,1 ::J" :::1 1''', J'[I 3 ,"" Cl f"' III 1'[1 1'''1'' 1'''1'' 1'''1- "-j l:f,1 1::1" "I:' 1,,,1, r.1J I:J Cl 1"'1 "1::1 1'0 i:ii 1'"1 In (!I I~ ~",. ::1" I'D 1"1" !:/.I ::::1 1,1'1 1'''1'' :;.1 I:: ::J" CJ ..", I,n I::: I",,,t "~ 1,,01, I:)''' 1'[1 ff.I "'1' 1'''1'' ""h ')1 1/] "Cl /••1, I'D I!J "0< (J') ItI :::1 1"1"""' ::~1 "1 ,,", ("I" ~.",J I:: f"'! ::1 ,'''I'' ::::1 I:;! ::C:I I,n 1'[1 1, ... 1, Cl 1,..1\ 1·.. ,,1 "", 1'''1'' :I:) I'"" :l[ ..+, !:Li I'll ..,1, Cl 1'1" (,1.1 1'[1 I'"' 1'1" ':1,1 r.", I,n ::0:; 1"'1 1'[1 ".r.l ""loo 1'''1 ~')" 1,...,1 f"I < ,.",- EEl m f,1,I ::1 Ij::J 1'[1 ~". f"'" :::J Cl ,:1., ~..II ,••,,1 Cl ""I ,;~) '·'1 I::: ~F~ I'D 1'[1 ..'" I.... , ""I ""I ''''I In '''j IJ:;:' ""I" 1'"1 1'''1 1 1.....1 I·...·' I"'J r.1.I I::J.. 1,1'1 1,,,11 ,,"'. fn I,n I 1::1 If:1 ...< Cl 1'''1'' 1'-1" ""I I,n ::r,:" III ::r ..< I.rJ IJ'I 1'[1 I.rJ ,"'I" 1"'1" 1,,·1, ".0. :r.) t"I" 1,11 :::r I'U 6 I,n III ([I l::l ::r.:" ....j "'1'" ::1 ::~ ::1" ,'.1" ':I.i ,... " '''';:: 1'0 r.:I" IJ'I 1'[1 1'''1 :::1 1-''"' 1'"'" ;::j ''''j 1"1 1'0 1·..,,1 () o 1.r.:1 10 1'[1 !:~I I..,t, 1'[1 I,..::: :,:1" 1...,,1 :::1" :::1" Im', i:J) Cl ItI EEl f"I 1.:: ..", ""I ':Li :::r.:1 "1 IT.i III I"'," f"" :::J I,n I'''''' <: I::: ;1;" 1'1" ,.1• fo' (,1.1 ~_d rr.1 (I') Cl t"..l. ,,< E!i 11) ,.... 1.11 ::r '1::1 1'''1 ",f'1 ::~ .,,,, i:::J" ,::'" c Cl 1'"1 (,Li J> 1..,1 , '''1 '01 '·h 1...1, (,/.1 r...n '";,, '.1'1 o ("', Cl" ~r::" "Cl ::1 \....01 ,,~, f..l , I·... , :~ :.D' Cl" '"'Cl "'" 1.1'1 1-" f"I :::;1 _.' 1'1" :J:I !:Li !:u '):::1 11 !ll "0 I'Ll 1'''1'' :::1 l.rl U1 1...1, :~, Cl o r.u ::1 t"'1 ''''I :::J 1'[1 ~r.:" ..", !ll ,,+, :::J t,,_1 :::1 I"d. 1'[1 "'" 1"1 I'"i ;"1 ""' I,n iJ l"'i" '", f"I ..", ':1.1 ""'" 1~1" f~· !1I .. :::1 :::1 iJ 'T.J 0" I'D !:u Cl "Cl IJ (JJ ~,I 1.1::1 ~Li I"" 1'- I'D :;:1 '-, .'''1'' 1'[1 ~:: 1'''1 ::1 -I, '-I 1)1 I'''''' I,n 1).1 ::J ::1 1"..,1 .,,,' "'1 ,~ 1)::' Cl I,ll jii :::J I'i I'i 1...1, .., 1.1'1 ill :; Cl 1.....1 I'D ::J 0 .. J:".J., ~_I ["';1 ,., t:~rt 1-'" 11:1 1/1 I... • I!I IJ'! 1'1" ID "< 1)::1 I::L ~I.I ""j ~ ::1" "r.:l !:u ""I 1.u n ("I" ..", "'" 1'... ,1 ~i. ""j :[::1 I:n 1,,01 1 P,I 1'''''' fJ.1 ::1 l"'i" iJ I_ut 1)1 r.: E~ I "'1'" 1.1.1 I'D (,LI 1'[1 ,,-t, Cl 'r,:' "1 I!I 1'''1'' ''1:3 Cl.. Pi ::1" 1..·,,1 ::1 ::r r.u ,,00/, I.n 1.1:) ""i "~ !::~ ~"' 'ml. cj" I' ?3 ,"' I'D ~\:i ::1 "~ .....,1 1fI l11 ,.., ::r.;" '11 ~ !1I f!1 I'od, "~ 1'[1 :3 Cl r='" ~I.I I..... , I.n L'J" 1'[1 I'~, 1'.0· ,-I" ,J!:. 1'[\ I:) ::1 ill :r,,' t"I" ~t,:" ::J" I,n i''''.! J.fI I'D ,,J I::: (,u "0 1,r.J 1"...1 !:u 1,11 0" I:::t" 1.1'1 1o .. 1.11 f[t r.1.i (,11 1'"1" ::1" :::1 (,1.1 :::J <: (J r.:I.. 1,1'1 :~ :[;:, ,,00/, -< 1'[1 I rtI !:I.I I... • i'[I I,n I'i I'D J:: fJ· -, 1"1 Cl "j,' ::1 I'D 1'[1 I'D "00/'1 I'l,l "'" o I'D :::1 ::1 ::1 1'[1 r.: :::1 ""\,, J1) ,:: r1i :::1 ,.(;:, ::;1 :::J ""i ""I 1,,,,,1 1-'" Ea ',u ,." r1" r.:J" f"· I'D Cl f.o, I,n ,.1" ""j 1.1'1 ~ ..Il ::::,o § I11 rri In lI'i '...:, I'''''' :::1 1"'1" I"'l I~i I'"'' 1'"1" eLi ~Li 1'[1 11 ',U 1'[1 ('" 1,1'1 ,- "..." 10 r.u f"I I'D 1'[1 !;n '"'I~. tn 1''', f,L1 ,~ "J"! ::I "-j :::J ::r ::1 (.1.1 c: 1"'1- ""I I'..l, t,,·11 1'''''' I"', 1'''1 "r.) :," ill eJI D ill ::1" Cl ':Li 1'"1 :~ ~.o , ::1 1:1..1 ,'1" 1,1'1 () ~u 1, ..lt 0'" 1.1'1 iJ U'I ""I 0::1 1'1" "...,1 (0 :::1 I'll I r.::t.. ::1" ::1 ("':1 :1' III 1'''1" -h Cl.. ::1 (Jl ,,"I" 0 """I ::F.: ""j 1.11 J:J':J [.L1 "Cl :r.::, I::r ""h 1::1:) 1"'1 r'",", !ll D 1:.:t :::1" ~u Cl [.: I~I" ::::1 !ll ""r, [.u ,,,,, ""I I::: 1,1'1 ,,1" ::E "1:1 ,", 1,11 1'1 ,(:1 I'D I:J" 1,1::1 ""I :::1 "'" 1''''1 ,..",r rrJ !:u I:) I,ll ~r.:" I,CI I'D 1'[1 I,,,', ::1 I,n ,,"I" ,,"I" Cl" Cl "1 /JI J:J 1'[1 1·",,01 t:l ::~:.. I'D 1'''1'' 1...1 1 I::: ~:: 1::1.. "",, Cl !ll ,,1" 1'....1 1::1., ," I::: t.rI I'D r[I !:I.t I:J" I,ll "'1 ""j I,ll ,.1" "." :::1 iJ f". f[I M Cl 1'1" ;;:J 1'0 !:LI ::J" 1'[1 1::1" ~dll 1...11 1::1" :::\ ,...." 1'''1'' :::1 1'[1 1,11 1'[1 1::1" :::1 ""I ,,< m [) ~~ ,,"I" "1 ::1\" I,"', ," 1..,1, I,ll "-I', I) nl Cl ~i m l::t" ::1 '1:;:1 :::1" ,,"I" C) f"', I;)" " (~1" "'" 1"'\" ""I 1'"1 "1;;1 :::1 ""\" ~e: I"" I 1·... ,' I,", ::T n :::1 r[I M Cl "Cl ,...11 Cl Cl ~r,;u Cl 1::1" ::1" ::::1 1,,·1, I-I" 1.11 ::r.:" IJ::I !:u 1::1" I.... of ,,"I" ""I ::1 ""I ::1 :::1 "Cl 1'[1 I·nlt m f[I 1:1,1""' 1)'1 1· ..,,1 ::::1" 1",1, 1'[1 1'"1" :::;1 "< m ":;:t' I.... , 1I1 .-.~ 1::1" :'3 1:1,1 ~E 1"1" " I'D I,ll ""'"Cl ~I,I ::F.: ::1 I,ll ::J" ,I..... :::1" :::1" I:: (J" ::::1 1",1 1 1'[1 1'"1" 1'1:' 1"",1 IJi "1::1 1'''\'' Ir., [.L1 :::1 Cl to IXI 1::1" ,...... ::1" ([I :::1 I-I" 1::J 1'0 !:Li 1"1" m f"I il" ,•..11 m m '''< I'D "-1 .f( 1'"1 ::1" .1:::1 ,:u ""\ ""I ""\ ':LI 1",1 1 I::: ~:I" 1'"1 ::;:1 Cl""' I,ll 1,11 :::1" I,"', I'D 1'0 I:: "(;:I ""h 0 1,11 ::::1 Cl .....,1 ~E !:u 1'+ /...,,1 '1J I,Il ~~:: (,1') 1'[1 I..·..' ,~ 1'[1 1'1:1 Cl /...,,1 1'"1" :::1 1'"1 ,,1" 1'[1 ,,"I" !ll !....J "'1 1'0 1,0 ""·1 1,11 ""I ""I {.".d "'"I I",fl [.L1 Cl '-j ,~ [.::: ,,"I" '" m ,."1" t.I::I :1> '1:::1 (J" f1 (';" :::1 1'[1 D 1"1" I· .. ,,! ::1 ""j ILl ""'1 !:L1 m :;:0 Cl ::1 I::: 1J ,"" I,", ""I ::1 :J" \",11 '1:) f[I ,,"I" 1'1) ,,"I" I:::'.. 1.11 I·...d 1:11 I-I' ,: (J tJ :::1 1,1'1 :3 f[I 1,11 Cl 1'"1" :::r ..", ::::r 1::1 ,,"I' ::1 1'"1" :::1 u::t .,< 1.11 1'"1" I::: ....I I'"" ::1 .... ::1" I'D It! 1'''1 I:::: \•..1, 1'[1 1'1" I:: ,""" I,"', ID 1";" I"" :::1 ...,( .", ~ :lE n'1 I'D :::1 Cl ,."J- ::1 ,~, ..II '"1 "1 ""j :':1 1,,·" Cl 1.11 U::I Cl.. 1'[1 :::l :3 :::1 1,(::1 I,n 1''', I'D !:IJ "< 1,1:::1 ::;1 ':,1':1 Cl I,ll "'" I,!:I Cl t:::l I,ll 1'1 "Cl !:LI :::1 < < I'"J- e, ;( ", ~ " m 1-' C,"" :;:I I'J) ,.;" 1'[1 1'''1'' !:u ...,I PI I,", 1'[1 "-I, 1'1:1 "..,,- /."", :::1 1'[1 :::1 ..", "'1 Cl "1:;:1 !:11 ,:1.1 ~,'" 1'"1" 0. "r.:1 1,11 I'D '''1 ··...1 '''1 I,fI I,,', :::1 :::1 ;;:J :;1" ""I lo·",1 :[:~ ~:I (",.. m iT.I I'D ::1" ID ,"" (:I" 1'[1 ::1" ,,"I" ',11 I,ll :::l 1'''1'' "1 ::t; (:I. 1'[1 1'1:1 -. f[I 1'"1" 1'[1 ""10. ::1 ,~ I:::: 1,11 I 1'[1 1,1'1 ::r:: ':1,1 :::r ""I :::1 ..... 1'"1" "1 I'D "0 111 1:::1" 1"1" 1-' , ~..II ::r.;" ':11 ...... 1,,,1, I:: Cl" PI I) (JJ !:L1 I..'" :::1 ,,"," Cl "(::t ::J" 1"'\" l·...I, ,,"I" ,...1, ;:r,;" I-I" ::E :::1 1'''''' 1'[1 ::1 :;r::, I'll :J ""I 0 :::1 :~~ ::1 (f.I 1£::1 ..,(;I ." 1...1, I:l. I!l I'D :::1" 1'1:1 ::1 C'" .. n a. I:: ru I;) 1.11 ,:u "1 ""j ,,"I" fT) ..", 1,..11 '.11 !:u 1"'1" :::1 I:U 1...1, ""j ;,," '''0 r[I I';" f....11 "r.J :;~: ',11 1,11 1'[1 1.11 :3 m ""I f"" ::1" I'D 0" r"" ,:u (J ::J' I:: C! Cl ::I~ j...11 '1:::1 '-'1 ""I 1.....1 ...., :::1 f1'1 1,1'1 ro < ,,,,,I"'''' ,,"I" < ''''I [.11 Cl [.: [.1,1 1'[1 [.u I'D 1.1::1 1'"1" :::l 1'"1" I'D :::1" 11:1 ::J::' '"1 Cl ':11 :::1 1::1" J,~ '"'j ,( '''I~~ '"'' I,ll iJ:J :::1 1'"1" 1'[1 :;:I Cl (,u ""loo ::1 1-" 1'"1" ..." '"'j f,1.I IXI ,.... , "." 'oU ,...... f( "." fol, ,", 1:1" Cl" rr I,ll ,,", 1'[1 ''1 '''J~ 1.....1 "'I~ \,,,,, 1 iJ::t Cl (1.1 rl,1 1..... f1 I'D 1",1, 1""1 [.11 ,,;" I!'I 1...1, I:: '"'j '"', :3 :::l :::1 I,ll I.fI n I'D f,1J ""I ::l III ""j "(J Cl ::1" ""' f"I t:l f[I (;I" /,",, 1::1. J'"I" ::r 1.,,1 1 ,,"I" f'" !:Li I'D 1.11 Cl ,..." ,,"," I'D '-h f,U ::1" Cl" :2~ ,._" "", 1'"1" , 1,....1 " ""1 I''''' I'D !ll 1:::1" ::1 I,"" ::1 1'0 ~... 1'1" r::~ n /11 ',J) ~LI 1'0 1'1 1.11 I..... :::r 1'[1 " '''l~~ eCI 1'1 Cl 1'[1 :J" 1'[1 ,,1" 1"'''1. 1'[1 ':11 cri ""I "of, 1-' 1,1'1 (,1':1 Cl f,L1 !ll 1-01 "(;t f"', ...c, ,J::I "of, () (,11 ,,"I" "Oh ol I'D ::1 0 r • (J 1'1" fol , Cl ,'....' I::: 1'[1 1,11 :l[ 1'[1 ::F~ ,,"I,. "' ".." r;" ItI 1,11 ::1 1"1" :::1 ',M ::r 1'"1 I,"' "'..... 1'0 I'l'J r,I1 ." ,...... ::1 """.. '<: (J') ,,(::1 [.11 !1I !li ,.1" 1.0 rJ:t -h 1'[1 1-' ""j ""I ~..II .~ j.,,11 ....-:: ""~' 1'1" ?~I I'"J- I:: I,,·..t i"..J: ~ Ln .~ ::1 ,,;" ""j f,LI ([I 1'[1 :T r.Li 1'"1 0" I"NI (:t, 1'1" ro 1'[1 1,1'1 ::1" r.) 1'[1 () ~E I'D 1'1" :::1 \,,.11 ""j ,,"I" 1,,·11 ,", 0 iTI ISI Cl III ::::1 1"'" ::E [.L1 I'D f,L1 I..onl 1-' 1'1 I::r r"i" :::l () f"I I'D 1'''.4 1'+ ::::1 !),I ::::1" 1,11 ()'oo ~~, 1.11 I:l. 1,1'1 I'D ...< ...< LfI 'oil ""I'. :;1" 1:::1. 1'0 I 1.0 I,n 1'[1 :::r ()" 67 destructive products or potential dangers of rock n roll The Nationalist government policy against rock n roll music lD the not ba.'nned ~ the and Nederduitse Gereformeerde Kerk continued to denounce lL= The Afrikaner was always reminded that rock later rock music~ Rock Nationalist governmenL strengthening conservative nationalist values and hence Tor gain: Rock n roll is then a significant music of the Nationalist government~ Its approprldLeness as a ven~Cle for alternative expression may be the result of thi.s ?:ne.. of nationalisffi= It certainly Does lend itself~ by means of youthful adeqLiatel y ....LU Afrikaner youth protest = n roll style is not onlY eVloenL lD ~ne most live performance of the Gereformeerde Blues Band is a vibrant rock n roll musical event, a colourful retro fifties-styled presentation which includes female backing n.~n]-~-!-a--~_~n_ h-h~, sino_ers. wearinc_"----... L.,_,_ir_:p_ -- ~ •. +-_ c_-l,---__'.-r+-_-. -" --. JW~U l ,,=;-OCI-::S-' ar~!:J. ~..ll ,,,.. ".., 1,1'1 1,1'1 :::1 "1;;1 Cl I.fI 11'1 I:)" :l:1 , < I.!'I 1",,1, '1.:1 o ("I" ::1 () ""i ""1'1 ~Li ;"1" Cl !:u ::1 1"'11 I'tl ,'''I'' ""'I'f.I (.LI 1",,,1 f"I "< I:)" !:I.I ,"'\" ....~ 1'0 (;I" Cl" 1'"1 ,,< J::I" 1'''1 !:t.t I.... , """I ~: I'D 1'"1 1"'1" 1·..11 j....d I,n ~"ll 1'"1" ""i f'1 1",,,1 rn ;'::" I.fI ;:j ,,,•• ,1 !ll ~..ll :::1" "'1 /'''1" :::1" ""i f"'. ([I :::1" III jo"', I'tl 1"'1" 1 :~1 1,....1 1'"'" t"'i" :::1 :::1 1::1 1..... Hi I"'" ::1 1'"'' 1'[1 ""'t In 1'[1 r.:l. ::' 1'"1" I'~' ::~,.. ~, ::r I'~' 1'1) "U ("I" I"l fi 1'"1 ,,"1" t:1. f"I I..•• '1.:1 I,' • I,fI 1"'1 !1I I'tl ::~ 111 n tu ::~ ~ ..II ::)" r"i" ,:/.1 I",L, lJ:j Cl '''1 '''i~: ::1 Cl i~1) m I~' ,"'I" I ... • '''f", r:: III 1'') :T "'" ,...,,1 1'"1 1'0 1'[1 I:) 0::1 I:~ f"I 1.....1 1'''1'' !:u rtI I:) ....i 1)1 1'1 fLi tl.l Gj tLI !'o. (11 u·, ""j /-" 1"" :~1 "r.J J;) 1"'1 I'"', ";, ::r.;" ::1 ::' :::1 :::1 1"'1" !:u ...< tu I'''J 1...11 ::1 !:t.1 "1 '1:::1 ::~:" :~~ I'tl f..",1 :::1 Cl" !:u 1::1" Cl" tJ::1 t·..I , ("I" ""i ::1" ::1 1.0 l(l I"', !:t.t "i:1 !:U "Cl.. Cl :::1 ",100 """I I,... ,r ~ 1,,·11 rrt tJ:::J (1'1 1'1" I.n 1.1'1 I:: /,"1" I::: 1'"1" :::.1 ....I 1::1" '''1 ,.". fll /-, "'" ()" (;I I,n ::1:;" I'"" /';" ,'1" I''',,{ I::: 1.1'1 1',,1 1 1"'1 :;i 1.f.J I,n 1·,,1, :m: ( "'" flt! 1"'1 lI'l I,,", ::.1 I,n "'1 I:: ..", (J" 11 ""j 1.11 '.....1 n /-,. ;:::j" ,.... :)" 1"', I'tl 1'[1 1.(1 Cl III /,,'1" ::r.:" I'fj I'D (.U tu 1"1" I:::: I,n ::t~ 1'0 ::J" "'1 I,n :2~ I'D t· .. "'1 ::r f[I tll I.n 1'1" \"..J ::1" 1·,," ::;1 1",11 1'[1 Cl I... • ,. / !:LI 1'0 1, ....1 1,1'1 '.11 I'f) Cl ,'''1'' 1,..1, 1"'1" I'D "Tl 1,... 01 ::t1 1'0 1'''1'' I'''''' !I' I'tl :::1 ~: "1:3 ::~1" :::1 ""I \,.,,01 !:I.I o ::1 :::1" I"'" :::1 ""I Cl" f,L1 1'1" 1"" 1';" 1.004 , 1..,,01 ItI 1:1' (.1.1 ::1 ::3 j:iJ I :::1 I:: Cl tu ::1" ""I. 1'0 !:u i~" ::1 I,n I'D 1",11 /"" 0" Cl. !:u I""· ::::J 1.1'1 ::::1 1.1:3 ::::1 1;;1" 1::1" -h 'f.j ~r.:" ;::j" ,..... 1'1:1 1.(1 1.1'1 1'0 £:1. 1'0 f.J" i:ri ""j ,.",.. tu "" 1, I'f) I.". "(:1 I:U iJI I'D I'D ''', 1'"1" ""j 1... 1'''lt Cl 1"'1 ?:i I'D j""J !:LI. 1'1" 1,11 I·... • ...t::: I'''!'' I) -, :::1 1"'1 I'~ LI'I ;:1::" rtl ,,,,,.J I,n ""i :::J ....:; 1::1" 1"'1 r..r ,.....{ ,:1.1 n 111 o ';;) t· ..d ,"" ::::1 I·... • ft' o 1'0 1-' '1:) I'tl 1';" I'D 1'[1 ::r,:" ::r.:" ')'1 1'"1" ("I I'U ,,5 :::1" :::.1 ',11 0" I::: f[I 1:1i ::.1 :1" 1::...1 1'0 1'[1 foliO ""~: ::~7' h 1:1, 1....11 1.t::J I:U ::F~ u::J ....::: ,';" ""j I·... , 1'0 !ll ::1 I'Ll 1,1'1 I"'!" 1,,·,,1 ,'"I" Cl l,,·I\ I'D 1",1. I'D ,, ""j Cl '.1::1 :::1 ::1 :r ro n fO -< I.n ""j !lJ 1'+ .If:. I,n III 1'1" I;:)" ""I iII f.J" ::1- 1'0 I.n Cl Cl I,n 1'[1 ,"1" I.n ''''j :3" I"", 1, ....1 ~:I" "< !:u ,'u l.rl ::E f.) ""j 3 ....loo 1'0 ,'"1" ',..I, r.u ,'''I'' r.:: I'J) ,';" ::", Cl I'D :;:I ""i I·.al U l:::t, .,< ::1 ,.....1 ,._.1 1';" ::r T3 I''''' 1'"'" :::1 :3 1:1 :::1 Cl ,"'I" ::.1 Cl. 1''''.1 0:3 1::1 ("I" '''1 ~E :::1 I ... • ,.... tu 1'1" 1·.. ,,1 ,'"i" m :::1" o f,LI 1'[1 1';" I:: I'D !:L1 f[I I.t) I,(J ::r::" :)" f-' :::1" r,LI ,.... iT! 1'1" ::1 J::I" lI'i 0" :3" 1'''1'' '''1 f"I fu 1'1" 1'"1" ~..tl Cl. 1'0 1'[1 ,:1.1 ri" 1'''1 ,,< I'....' I'D I'~' (1" ""j :::r 1 01 n L(I :::1 "Cl ~J, :3 I'~' tu ""i () ~..II 1... ItI ,I" 1· .1 1::1 :~ ::~ ,.;" f"I " f"" !:u Cl I::: ::i ..,.... I'D f.... . "'1 f"I :::t (;" o ,:: r.:: I~' (.: r.: "'1 :::r tn ..f.J 1£:1 :;1" ("'. .". !:u 1'1) I,CI (1'1 :~ ,"'1" 1.1'1 1.1'1 I'tl 10..1, !:: rr.r :3" (- :3 CJ iJI I'D ~.'I /-" ro ,,". ~"" ~~: C" n l-fl ""h >:; u:5 :3 I) ?:i I.n :::r :::1 1'"1 1"'1 tl.l ~"Il Cl ~u ,"'I" I''''t I:) 1-' ::r (; """I Cl f"'. "Cl fLJ ri" :J" (.U 11.) 1"'1 :::r It.·oI 1'0 lI'i -h ""j 1'0 """1.11 ("I" ("I" ,,;, ,"'\" 1'0 1'[1 ,'''1'' I'D ~ ..Il ...... t It) ~ .... ('1" !lJ 1'1" 1'[1 ~ ..Il 11" r!, ~.:: l:L' 1'l1 Cl. tn 1'1" 1'[1 I'Ll 1''''.1 ,,;, I:: 1'"1" ",,, .~ U'I "'" ,:'" (.U 1'1" 1'''1" ~r.:" In Cl ""j ";'1 (i" 11 Cl I'''!" :::t ::1" I'D n jo~, ""i Cl -< !:u tLi :)" I'D o I,n I"" !:LI ....f[I :::1" (.LI I';" ,'''1'' r.)" ,,- ,'1" /."1. ::.1 ::1 ("I" I'D 1'''1'' , iJI Cl " o ""I" I.n ,'"1" ::::J ::1" :~1" "< :5 n !:: ~"" :;1" lfl I';" -< 111 1'[1 :e: :m: ' Ir: [side i 33, explanation of the meaning of rOCK alternative Afrikaner youLn culturec The song itself has its foundations firmly within the rock idiofn~ emplo)ling stylistic , , exaggeration; A distorted is "Lne blues riff which is typical of the rhythm guitar style of OlaV20." ~ - " -cne Lise ~;; lDcorooraLes~ of the flattened a:no sevenT.f1 ano beats two and four in its rhythmic articulation= A piano fills Gut the rhythm seCLlon playing root chords in a n=~ a.nd Oiues !i camp i Si style 1.S OT"Cen incorporated lnLO the later rock nrollstyle):; flattened seventh notes for harmonic embellishment= The electric bass guitar plays mostly root notes~ building a sense of rhythmic momentum by articulating eight quavers Da~~- = 1:-ock beats t~AJO and The harmonic construction of LnlS piece lS also typical •'_-.' -II'" 1 :?" .!..••_ .=_.,:- 1 q.. ~ :=:.i.·_-.-"_=. ',- ..=-_,.-_ ', ..". ~ ,--" -1 -. ,- .: eT' ~ -"-="' -- ... i~ = L]..I;,. Hh_... ~eL = 1 r~e ~¥.:e:-ses OT 1:.ne song _.-. !\} a~-e blues-based harmonic I I v The chorus structure takes Lne Torm of a standard blues ... , ~ 1-'··/ I 11 \/ ~ne song employs two ~neffies which are closely related and ._-_:. t.ypical of ~ U!_i'":. ca:c = In the song a hitch-hiking journey is used as a metaphor for the historical development of the Afrikaner ~ ~ .. ": consciOLtSness = The car 1.5 a ~T:eLa.pr:o!-lcai expression of the significance of rock n roll for Rabie and aLtdience = It is the vehlcle which will take the Afrikaner into the future~ just a-3 the ossewall of the Great Trek can-ied the Afrikaner on a Journey which defined the nationalist Afrikaner culture in the pasti :iOh ek staan die nlgnway met my DU vriend Mike Ons twee was op pad om Transkei toe te hike Die son oak neer~ oit was baie warm weer Ons was amper reg moed te gee 71 die ding het laat spat: (Sweet~ sweet Ossewaj Hy kom tot stilstand met remme wat skreeu Hou op~ klim uit, ons moet nader tree====== Hy gee nie op om answers to gee Hy het ~n Vb engine binne in hom ====== Er~ ek kyk ~n ware Elivs Presley Dit was n regLe~ regte rock n roll ossewa The ~funky nuwe rock n roll~13 lS the new ossewa for the volk~ the vehicle wnicn will transport the Afrikaner OUL of its present cultural i~Tfpasse, laager14 mentality far behind. radical social change: It is ~-ock featuring a Chuck Berry electric guitar riff~ rapid elgnLn note piano chord pdLLerns in the sL¥le of Jerry Lee Lewis and a driving backseat The harmonic structure fea.tu·ces typical rock n roll progression: 72 I I Vi.. The song apathy and acquiescence; !iJy moet staan in jOll ry= Jy moet JOU hare kart sny ===~:= Jy moet al die pryse kry= Jy ff:oet in n hLtisie b I Y En vrou en kinders kry~ c.r: JOLt Stem Vl~- die Pa;-ty = 15 Ek ~~e r~ee d i s r~ r:lO\-S . ~n01-S Ek 'S:~e T~ee 0 is n 3! J a = cK se nee dis n mors~ Rabie sees the material privilege of Lne Afrikaans middle Class a significant l-el L~ctance t.o challenge ~rH:? tr~e t'"~at ion~3.1 acquiescence to National p011Cy ensures their bourgeois socio-economic statu5= ~~abie deplcn-es this expedient apathy~ and invites the young audience to break out o~ the old social order; 73 Ons is moeg van apatie Ons probeer anarchie= iJr;s soek Rabie~s a.dvoc-~tiC:D and reVOl.L~Ll.On has hi.s liLtS-le being as f~-om -::ir: Afrikaans musical being banned: The rock vehicle for such a social message: 74 F 0 0 T NOT E 5 Gary Rathbone, ~!Rock n Roll Headacr-~e fOl- ~3t.1ardia.ns Thp Wep k1y Mail ,May 26 to June 1 1989~ B~rk ann (Cape 6= ~: ATrikaans natlon ~. !IF~ock F~oll in ~"C~-ange (Cambridge~ Cambridge University Press~ 1985), p=160 75 Frede~-ick Consume~- in Hal Foster; ed =, (London~ Pluto Press 1983), p=114= 11= ossewa; ox-wagon I stand next La the highway WiLn my Transkei= ~ne sun was beating Down, weather: We were almost ready to give up hope= But l "7": in roaO====l'C COff:es kind o~ ox-wagoTIu (Sweet, sweet ox-wagonJ= It comes LO a SLOP WlLn brakes which screamed. Cll.ffiDS :l1ust st.ep He ooesn"t It see ~ real Elvis Presley welcomes us again = It was a real, genuine rock n roll ox-wagoDu (Sweet~ sweet ox-wagon) =" =-"'--fo laager; ox-wagons symbolising the .:- - = ~ - defensive TlgnT.l.ng OT the threater~ed refers to Lne Nationalist cut your hair snort::==You must get all the prizes: You mUSL stay lD a small nousee And get a wife and children. And drive your small carK I I "~ 1/. let L~S OT t-aJe seek !Jog:; Thf=i 26 to September 1 1988~ p=l 77 The aestt-~etle valLles of mainstream Afrikaans by the demands OT its audience; the Afrikaans hegemonic culture= Through the Nationalist- aligned Afrikaans cultural organizations such as the South African music industry have colluded iT~LlSic := ffia~ns~ream Afrikaans act·3 as a propagandistic agent ana escapist Nationalist-aligned Afrikaner hegemonyQ ... • "'l; _~!- nf!r!!r- -: _.-i ! --- mLtsic-~l CL~l t.Ltre has DeCC~iTIe compleLelY companies- wno, worK. in close collusion the aforementioned Nationalist aligned organ.izations, ana the S=A;B=C~ are notoriously conservative in the exacting over their products~ In Delng driven DV ~ne as the only aesthetic consideration~ J..s acqLtiescer~t to nationalist hegemonic ideology ana refuse to record or distribute mUSiC which is in any way critical of this coc~es of the hegemonic , - Afrikaner class= Mainstream Afrikaans pOpL\ia~- U&L.i.C.lC acts as a conservatoire Tor hegemonic Afrikaner nationalist 78 . . COGes~ oen'llng the fractionation and crisis in the Afrikaner social realmc Thus mainstream Afrikaans popular music is completely exploited and COIT':fnoditised:e and 1.S to n:~sist fcn-ffiLll aic Hence it p~-op.a:~ati r~g acqLtiescer:t of Afrikaans hegemonic loeology ano cultural codes: However~ the Afrikaner hegemony no longer has uncontested conLrOL over the cultural profile of the Afrikaner= The the many particularly young Afrikaners~ the cultural codes ana: lCIE'OlOgy-: "" of This questioning has resulted in an exploration OT the conSClOLlsness the pop ~11i.1Sicians In an 2.ttempt to redefine the Afrikaner , '- culture: ~nese endeavours have been appropriated Dy "'L::e. fnade a departure from the cultural codes and ideology of the negemony,., alternative music to symoollse the rebellious consciousness OT ~ne Afrikaans youth counterculture= Coplan has stated that: 79 musicians and mUSlcai occasions nave oeen in re-establishing bases of s=::~cial and situations of extreme dis-organisation~ segregation, The relatively sudden emergence of alternative Afrikaans popular music is a manifestation of a need for Lne definition o~ the social identity of the counter-culture ~ " ~ ~ Hennior~ a 51.'LLid1.:l0n OT eXLreme change st.ates that; mOD.1.ie soci.;\l groups still in the process of self-image to latent communities wnose members nave in common the feeling of not belonging ~o an established social category====!!3 Most significantly, alternative Afrikaans popular music lS .3:esthetic Tr-~ese aesthetic values are informed by the social disjLtnctL{·ce experienced by the Afrikaner youth counter-culture= These aesthetic values have prompted alternative composers to use pQstmodern procedures in composition which, decentering the subject, embody the crisis of social disjuncture in the counter-cultural 5ubjectm 8(~ . , Johannes Kerkorrel erfl010VeO t.he postmodern technique ~ - , of pastiche to act as a \f~ehicle Tcn- sacla1 d. It is a pastiche which exploits the counter-cultural rebellious social messages style. Rock has a specictl significance in the history of Afrikaner nationalism: It has been used by the State to symbolise the evils of the democracies of Britain anD America= Fo~- these employed a P~3.SLl.Cr~e of the rock n roll style ~o convey an expression of disjuncture r :: Bernoldus Nieffiand~s music is a T~-a.gmerit:eo response to the violence of the Afrikaner male codes of male cultural codes has caused Niemand LO explore the gender constructs of his sex and relationship Wl~n Afrikaner cultural hegemony = Niemand is perhaps the most of the musicians= By Lne creative and intelliqent use of parooy (stylistic juxtapositions)~ Niemar~d ~ s H1L~sic DOt. on l~! ~c H c: = = = = e fleet s of by , , passively mirroring 1:nem, but simultaneously and 81 actively opposes these tendencies by its negation of is rr~Ltsic dese·c ...... /ing attention ~n the South African music scene= M·'QC. CONCLUSION - FOOTNOTES ~~ r,...: :: ; ~neory ann ne~non Cambridge University Press~ 1982) := ~= an Anti-musicology of Song", 1..D D I SCOGRAF"HV WIE IS BERNOLDUS NIEMAND? Bernoldus Niemand= Distributed by Shifty Records= EET KREEF! The Band= SH1B 32= Shifty Records~ 1989= and Engineered Marketed by Shifty Music= Distributed by Tusk Music LO= (Ptyi Limited 84 BIBLIOGRAPHV i L (March\April i989) = .i.W The i976= iTi::; S:~rial New York; Gordon and Breach~ 1984= :!Boeties on ~ne Border but Susie~s got her own gun too~E= Thp W~ekly M~il, March 18 to March 24~ 85 Bobbit~ California: Wadsworth~ 1976= the Boere go Tor ~nlS Boere- 14 ~o April 20 1989:. Some Theoretical Observations: Cambridge~ Cambridge University Press~ 1982= !fIT tr-~e ~ 1989~ n ~Q t""" = =:.- ~ = Ma.y 26 b:J June 1 1989:: p=26= and the African Challenge:!! 7 pp = 13:3 149:: Ec~it.ed by R =: ~ ~ : Caffibridge~ Cambridge un 1. Ve1-S1.LV a.nd ~1cRobbie:s Edur~Tinn 29 (1979) 14 LO April cV 1989~ p=24= '"""_:-r=_i i t-_p~-i ,i~-,;_...• ,_".==-1-_•.' .=_ ...... '_.'_....,,: -- ~ r~ ;; ~---.-n J -: - -~ _r,·,." -.:.'... - ct!JU l.f ML,ii 1= Lamr:n-l.Q=d...--.. e ; !In i "--ie"csit y 1985= 87 Her~nion :: liThe of ~Llccess = An Ant.i- ~lL!.sic .~,-, 159 Edited ay R .. Middleton and D~ Horn~ Cambridge: Cambridge University London~ Pluto Press~ 1983= P'::.,-i.-- Davici = .3.nd Le Roux, Frans= !!Young Afrikaners Dance to the Beat of Rebellion H LondoTIi Longffian~ 1987= ; Fefninists -3.nc~ pp= 44 218= Edited by R Middleton and D Horn~ i ~;;-"' -"i",oi:-C .i ...... ,.:: ...... i ":"._= -..: ....i {-"-7.... 1982= Tail H = 15 to 21 n Roll Headache for the 'LO !!Gereformeerde ~~oves in the March 31 to April 7 :!Reccn-d Label Shifts to the Good Ti;Ttes:!! Press" 1991 = ..-.; - "' !JDject:. of Pnstmndern CuITur~~ pp 70 London: Pluto Press; 1983= 89 van Staden~ Hannali= "Die Boere f3edoer~ I = ::-~ : ~ ··r~OCK s take on ==-".=.=....=_- .- rUl...LL.1...L=:'::: cb to 1988~ ~] =25