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the_future_modernesWomen in Punk: To Good to be forgotten
Women in punk: ‘Too Good To Be Forgotten’
Women’s involvement in British punk has been marginalised and written out of mainstream histories. In the next few months, The F-Word will run a series of features on women in punk by Cazz Blase. By way of introduction, here she sketches out her own first encounters with the genre, and carries out a vox pop in Manchester to gauge whether the person on the street can name any women in punkNever Mind The…. Ooh, Never Mind… punk and the public memory
Cazz Blase (with Sara Shepherd and David Wilkinson)
The Plan: To voxpop the citizens of Manchester
The topic: Punk, an era we deliberately did not define
The reason: To test commonly held public perceptions of punk, particularly the misconception that there were no female punk performers, and to test the extent to which these perceptions have trickled down from the punk generation to both the post-punk generation, and the iPod generation.
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Writing Women back Into (British) Punk
Writing women back into punk
In the second installment of her series, Cazz Blase looks at how punk was covered by the music and feminist presses, the work of female journalists, and how women punks came to be largely written out of the history booksA merry band of mythmakers
When punk exploded onto the British musical and cultural scene in 1976, it was thanks to the hard work of a merry band of mythmakers. The story of the Sex Pistols has been told, re-told, mythologised, de-mythologised and re-mythologised more times than I can count, and that’s just one band.
This myth originated with Malcolm McLaren and Vivienne Westwood in 1975, it was re-spun by the tabloids between 1976 and 1979 as part of a textbook moral panic about punk, and was later reclaimed and re-told by a number of other interested parties, all of whom sought to put their own spin on it for their own purposes. They aren’t the only ones, but accounts of punk, both in the popular sense and the academic sense, do tend to concentrate on a very specific canon, comprised largely of the Sex Pistols, The Clash, The Damned, sometimes The Jam, sometimes The Buzzcocks, sometimes The Stranglers, suggesting that not only was punk a purely British phenomenon, but (Buzzcocks aside) it was also exclusive to London, and to white young men.MORE
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