Music in the Mix: The Story of South African Popular Music PDF
Preview Music in the Mix: The Story of South African Popular Music
MUSIC 1y 1k MIX uff Andersson iThe storyof South African popular music MUSIC IN THE MIX [SS —his This book is dedicated to: Bra' Gav, who was my sounding board; Sue’s daughter Dominique, whose umbilical chord was cut before the book was through; And Tamsin, who loves music too. Muif Andersson IVIUSIC IN THE MIX The storyof South African popular music //RAVAN PRESS g )7 Johannesburg Published by Ravan Press (Pty) Ltd. 409-416 Dunwell, 35 Jorissen Street, Braamfontein, Johannesburg, 2001, South Africa. © Copyright Muff Andersson 1881 Edited by Christopher ‘Bish’ Russell Layout and Design by Shaun Johnson Photographs mainly by Sue Hope-Bailie and Paul Weinberg Cartoons and illustrations mainly by Mike van Niekerk Cover concept and photograph Ashley la Grange, typography Shaun Johnson Reproduction by Graphic Equalizer Set in 10 pt Egyptienne medium ISBN 0 86975 218 9 CONTENTS 1 THE BACKGROUND TO TODAY’S SOUTH AFRICAN MUSIC SCENE Chapter 1: GONE WITH THE WIND INSTRUMENT 13 Traditional African music and influences from the West Chapter 2: TRACING CONNECTIONS 19 The work of musicologists Hugh and Andrew Tracey Chapter 3: TOWNSHIP TUNES, RESISTANCE RHYTHMS . . . 23 The growth of township music, and its changing status Chapter 4: AND THE REST IS HISTORY . . .37 The early years of the South African record industry MUSIC AS PROPAGANDA: AN INSTRUMENT OF APARTHEID Chapter 1: MUSIC IN THE MIX, AND MONEY FOR THE RICH 45 The record industry and its policies Chapter 2: THE POLITICS OF PRODUCTION 61 Interviews with independent producers Chapter 3: ANOTHER BRICK IN THE WALL 85 Radio’s stranglehold; Sarie Awards; ‘Independent’ radio Chapter 4: SUCH NATURAL RHYTHM 99 Music as propaganda 3 REPERCUSSIONS, THE DAMAGE DONE, AND FUTURE TRENDS Chapter 1: TOO MUCH PRESSURE 109 Why emerging styles were stunted Chapter 2: BAND ON THE RUN 119 South African musicians in exile Chapter 3: CAUGHT IN THE ACT 123 Interviews, notes and raves on five categories of musicians Chapter 4: TOWARD THE FINAL MIX 169 Thoughts about music for development Digitized by the Internet Archive in 2012 with funding from The Archive of Contemporary Music http://archive.org/details/musicinmixstoryo0Oande Foreword THIS book has changed considerably since I started writing it. The original idea was a sort of A-Z of South African musicians, but that idea faded pretty quickly simply because it is impossible to write about any group of people without touching on their environments, the laws which control their activities and the ideas that are imposed on them by the rulers in their society. South Africa has spawned many types of music — vastrap, mbaganga, mbube, kwela, tickeydraai, the list is endless — but all the forms that have emerged have in common a struggle to rise above the imposed economic and political conditions. The same book could be written on art in South Africa, or literature, or sport. It is highly subjective, and not comprehensive — that would be impossible, since musicians come and go and the book could stretch into 10 volumes and still not even mention all the names of musicians who have made their mark locally. This book attempts to trace the contemporary music scene in this country from its origins in black indigenous and white imported music. It discusses the problems facing musicians — apart from factors like record company exploitation, which is worldwide — that are unique to South Africa. Musicians here have no union to protect them; they are often directly troubled by the security police if their music becomes too political; they are forced to perform to segregated audiences on most occasions, and when they do play at non-racial venues they are subject to pressures exerted by baton- wielding police and snarling dogs. Most of all, professional musicians are in the stranglehold of one of the most repressive tools of the state: SABC radio and TV. The book concentrates on light, commercial music — but also touches on other popular forms like the resistance music. It attempts to be not only a comment on the plight of an art form/expression of life, but also a comment on a very peculiar society: the two ideas cannot be separated. M.A. ACKNOWLEDGEMENTS If it wasn't for Preston Will and Bish Russell there would be no book. Preston suggested, in March 1980, that ‘‘there must be enough South African music around to write a book”. Sadly, he was not able to publish it. Bish then went to the trouble of finding a publisher, in addition to undertaking the unenviable job of editing the manuscript. I am extremely grateful to both of them. I would also like to thank the following people: Sue Hope-Baillie, whose enthusiasm about the project never waned, not even when she fell pregnant with Dominique; John Pitt, who pointed out irregularities in the first draft; Matthew Shum, for helping to research the section on the ““Coon Carnivals”’; Des and Dawn Lindberg, who allowed me unlimited access to their library and Shaun Johnson, who despite an extremely heavy work load as a Journalism Honours student was prepared to do all the lay-out on his own — after very short notice. Finally, I want to thank my parents Andy and Barbara, for their constant encouragement and good humour, and my brothers Gavin and Neil, whose clear insights have always been an inspiration to me.
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