In Britain during the late 1970s and early 1980s, a
new phenomenon emerged, with female guitarists,
bass-players, keyboard-players and drummers playing in
bands. Before this time, women's presence in rock bands,
with a few notable exceptions, had always been as
vocalists. This sudden influx of female musicians into
the male domain of rock music was brought about partly
by the enabling ethic of punk rock ('anybody can do
it!') and partly by the impact of the Equal
Opportunities Act. But just as suddenly as the
phenomenon arrived, the interest in these musicians
evaporated and other priorities became important to
music audiences. In an updated new paperback edition of
a book originally published in hardcover in 2007, Helen
Reddington investigates the social and commercial
reasons for how these women became lost from the rock
music record, and rewrites this period in history in the
context of other periods when female musicians have been
visible in previously male environments. Reddington
draws on her own experience as bass-player in a punk
band, thereby contributing a fresh perspective on the
socio-political context of the punk scene and its
relationship with the media.In addition to a wealth of
original interview material with key protagonists,
including the late John Peel, Geoff Travis, The
Raincoats and the Poison Girls, this edition has been
updated to reflect the national nature of punk and
post-punk with the inclusion of interviews from members
of Birmingham-based band The Au Pairs, Leeds-based band
The Delta 5 and Viv Albertine of The Slits. Lucy Whitman
(aka Lucy Toothpaste) who started the fanzine Jolt and
later wrote for Spare Rib also provides enlightening
words on the relationship between female punk band
members and feminism. |
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