Things I’ve written elsewhere:
- For the Wales Arts Review, What Riot Grrrl Did and Didn’t Do For Me: on female artistic expression, theory vs practice, post-punk, class and feminism, the 90s, adolescence, and Courtney Love, I think that’s everything.
- For Planet on the centenary of the Senghenydd colliery disaster, a piece about the issues it continues to raise around Welsh identity and the history of working-class exploitation and resistance.
1. I wrote this piece for the Wales Arts Review on Welsh history, politics and identity. Yes, again.
2. In the next issue of Planet: the Welsh Internationalist, I have written on the relationship between Welsh artists and London in the very poor disguise of an album review.
3. If you’re at this year’s Green Man, I will be there to speak to ex-Kenickie members Emma Jackson and Marie Nixon on music, gender, class, the 90s, you know the drill. My life as outtake from Phonogram continues. I shall endeavour not to use the term “escapist proletarian-glam aesthetic” more than once but can’t promise anything.
I am in print this month, having written a chapter on women in post-punk for Julia Downes’ new history of the girl band, Women Make Noise. A surprisingly difficult part of this was establishing what we talk about when we talk about post-punk. Post-punk’s disorderly, subversive and category-resistant nature has seen it marginalised in accounts of its era, although the past few years have produced a handful of useful retrospectives, as well as the early-2000s revival of post-punk musical techniques which, if you still can’t explain what it is, at least make it easier to explain what it sounds like.
For me, a large part of post-punk’s significance was that it seemed to involve an unprecedented amount of women as artists, fans, critics and ideologues. Extending the gains of punk’s emphasis on DIY culture, accessibility and amateurism, post-punk women were able to take their bands in experimental and innovative directions. Post-punk’s ideological concern with the politicisation of the personal, and with identifying and promoting authenticity in the face of popular cultural stereotypes, lent itself to exploration from a feminine and feminist angle, resulting in lyrics which demystified and deconstructed conventional femininity, love, sex and romance, and which analysed social and cultural pressures on women or the tensions of personal relationships in implicitly political ways. Continue reading
This post was mostly inspired by the complaint of my fellow Bad Reputation member Sarah J that, when the subject of Elastica comes up, the band are frequently dismissed outright as flagrant copyists led by Britpop’s version of Lady Macbeth. In fairness, I spent most of the 90s thinking the same thing. God, I used to hate Elastica. Willfully amateur slack-jawed rip-off merchants whose frontwoman seemed to exist only as a drawly amalgam of her indie boyfriends (hair by Brett, boots by Damon), whose competency in snagging the catchiest bits of post-punk couldn’t disguise how irritatingly thick and bland they were in all other respects. Right? Right. Now that I’m no longer a chippy thirteen-year-old convinced that people with trust-funds can’t make good music, I’ve been reassessing Elastica. Continue reading
Two things I wrote recently on the music, culture and politics of that weird, desultory decade, the 1990s:
1. Up Close and Personal: Lost Girls
For the decade blogs, my Tesco Value Greil Marcus number on gender, class, Britpop and everything after, chav-hysteria and narrowing of access.
2. Rebel Music #5: Manic Street Preachers
For New Left Project, a cleaned-up and condensed version of my customary closing-time rant on the politics of the Manic Street Preachers. I know I fail to mention, eg, Soviet chic, or Castro, or self-harm and anorexia, or the band’s appeal to teenage girls, or anything after This is my Truth Tell me Yours. It’s not that they’re irrelevant, they’re just relevant to a different article. Or possibly a whole book.
There were several predictable bones to pick with this piece in which former editors of the New Musical Express select their most noteworthy covers. The feature leaves out a lot of the former Accordion Weekly’s history, notably anything prior to the late 1970s, but what struck me most about the covers chosen was the disparity between the first one and the last. Pennie Smith’s 1979 cover shot of the Slits, then a relatively obscure and resolutely uncommercial dub-punk girl-gang, mudlarking in the grounds of their Surrey recording studio, was part of a set which became a defining image of the band, notably through being used on the cover of their debut album Cut. This article looks briefly at the controversy generated by the images themselves, and how it relates to subsequent and current presentation of women in the UK music press. Continue reading
So: I’ve written a chapter on female post-punk musicians* for a forthcoming women-in-music book. I mostly talk about the Slits, the Raincoats, Linder Sterling, Lydia Lunch (unavoidably), ESG, the Au Pairs, Delta 5, Pauline Black, Barbara Ess, Ut., Mars, the Bush Tetras, the Bloods, Malaria!, Kleenex/LiLiPUT, and latterly Erase Errata, Sonic Youth, Scissor Girls, Karen O, Nisennenmondai etc.
Now: I didn’t include any illustrations with the writing, because my grasp of decent visual art is comparable to Boris Johnson’s grasp of his handlebars after a heavy night out. But apparently it would be nice to have some.
Therefore: I’m looking for suitable images – photographs, illustrations, cartoons – for inclusion in the chapter. Anything relevant considered especially if it pertains to the bands mentioned. Full credit given, further details on request, please pass this on if you can think of anyone who’d care. Thank you.
Also: it is my birthday. I’m going to celebrate with fresh air and daylight.
The past few years have consolidated Patti Smith’s position as godmother and high priestess among women musicians. Following her induction into the Rock N Roll Hall Of Fame in 2007, last year saw Just Kids, her memoir of life in ’70s New York, receive a National Book Award and a future stage adaptation, and just last week she was awarded the coveted Polar Music Prize by the King of Sweden. Where this leaves her as an artist who once proudly and profanely proclaimed her position “outside of society” is anyone’s guess, but the establishment’s recent embrace of Smith appears to have been the spur for the release of this collection, a primer or sampler of her work aimed, presumably, at those discovering it for the first time. Continue reading
The wave of musical experimentation which took place in the wake of punk generated many new and startling sounds, some of which endured and grew in influence while others became lost to musical history. The Raincoats, a London-spawned, ever-shifting collective based around the partnership of Gina Birch and Ana Da Silva, are now firmly in the former category. Their self-titled debut was described by Vivien Goldman as “the first woman’s rock album” to emerge, its lack of musical or vocal hierarchies or focus-pulling solo virtuosity pioneering an arresting and persuasive kind of rock without the cock. In 1981, Odyshape continued to shift the rules of the game. Continue reading
Music books written by women, list of. Go, compare, question, critique.
Why don’t more women write about music – or do they? And why don’t more women write about Dylan? It can’t just be me and Sady Doyle.
Also, with due apologies for more self-promotion – I don’t think I’ve mentioned this here yet, but I’m currently writing a chapter on female postpunk musicians for a forthcoming anthology on that shy and elusive creature, the girl band. This book will be a contender with or without my contribution though. Watch this space.
Written for Bad Reputation, 8.6.11
Another week, another women-in-music controversy, and another hotly debated video from Rihanna. Having ticked domestic violence and sadomasochism off the musical list, she’s responded to recent accusations of being a major player in the oversexualisation of pop by upping the ante, making her latest offering a blend of sexual violence and violent retribution. The video for Man Down, which opens with Rihanna shooting a man who is later revealed to have assaulted her after they dance at a club, has kicked up a predictable media dustcloud. It’s all a far cry from ‘Pon de Replay’. Continue reading
Written for Bad Reputation, 1.6.11
Poor old millionaire superstar Adele, eh? No sooner has the dust settled on the furore over her objections to being a higher-rate taxpayer, than she gets thrown into the vanguard of another of those putative Real Women in Music revolutions. A mere three years after she started out, and after just seventeen weeks of her second album at Number One, it appears to have suddenly dawned on Richard Russell that Adele exemplifies all that’s healthy and hopeful in the otherwise dire and overheated state of contemporary pop. Continue reading
Jesus, it’s been a bad week. 53 is no age.
This is my favourite X-Ray Spex song:
Let me begin with some residual New Year bonhomie by saying that the New Yorker‘s Alex Ross is not the problem here. It’s just that you sometimes need to take an inventory of the symptoms before starting on the cause. Last month I attended a talk by Ross on the release of his latest book. The talk and the discussion which followed were interesting enough, but throughout the evening I couldn’t help noticing that, although there were several women in attendance, every single raised voice in the room was male.
‘Sexuality in Rock’n'roll is one more area weighed down heavily by its history and language. While none could or should deny the aspects of sexual interest and thrill inherent in live music, the performance space is problematically male-dominated.’ – Ian Penman, NME, 1979
‘I really wish that I’d been born a boy; it’s easy then ’cause you don’t have to keep trying to be one all the time.’ – Gaye Advert, 1977
Women in bands, when under the media spotlight, often find themselves swindled out of due credit by virtue of their gender. If they’re not being accused of clinging to the coattails of their backing boys to disguise their own lack of musical ability, they’re being judged on their aesthetic appeal to the exclusion of anything more relevant. It’s disappointing to observe how ubiquitously this principle applies. Even in the midst of punk, as girls picked up guitars, bass, and drumsticks, taking the stage alongside boys as more than cooing vocalists or backing dancers, they attracted that lethal combination of critical suspicion and prurient interest.
I love punk partly for the number and variety of women it involved and the freedom of expression it offered them. I loved X-Ray Spex – a Somali-British teenage feminist demagogue whose vocal screech swooped like a bird of prey over twisting vistas of saxophone. I loved the Slits and their slippery, shuddering dub-punk hymns to the tedium of sex and the joys of shoplifting. And I loved Gaye Black, bassist for The Adverts and widely regarded as punk’s first female star.