BELOW THE BELT AND BLEEDING FINGERTIPS
2007; Routledge; Volume: 22; Issue: 53 Linguagem: Inglês
10.1080/08164640701364703
ISSN1465-3303
Autores Tópico(s)Race, History, and American Society
ResumoClick to increase image sizeClick to decrease image size Acknowledgements ‘Au Pair Girl’, Judith Haines © 1979 Judith Haines Unpublished. All Rights Reserved Used by Permission. ‘Obsession’, Judith Haines © 1979 Judith Haines Unpublished. All Rights Reserved Used by Permission. ‘Housewives’, Eve Glenn © 1981 Toxic Shock, Eve GlennAll Rights Reserved. Used by Permission. ‘Prisoner’, Vicki Bell © 1981 Toxic Shock, Vicki Bell All Rights Reserved. Used by Permission. Notes 1. Interview with Brown, Razor Cuts, 4 August 2006. 2. Bluff lived in a share household with four other women, including Susan Aujard and me. Aujard was dedicated to live performances of music and invited Razor Cuts to play at her birthday party, together with another mixed band. 3. For example, another type of existing narrative of women playing music together concerns ‘ladies’ orchestras’ who graced the stage of the Palais Picture Theatre in St Kilda during the Second World War. See Dreyfus (Citation1999). 4. This paper is derived from a larger research project (PhD) to survey a 15-year period in Australia (1975–1990) through the lens of the female musicians. Currently my incomplete list stands at 55 bands and includes folk, punk, ska-influenced, reggae, blues, rock, heavy metal, experimental, big band and jazz. Almost all genres and styles of music are represented and are signified through an assortment of names: Stray Dags, Escargo Go, Screaming Jennies, Hotspots, Right Furniture, Barbie's Dead, and Sticky Beat, to name a few. 5. I am indebted to Jane Cottrill, heavy metal guitarist with Barbie's Dead, and later Arcane, for a discussion that clarified this point. Interview with Cottrill, 20 July 2006. 6. Interview with Crennan, Clitoris, 3 July 2006. 7. Jack says, ‘What were we thinking calling ourselves Clitoris?’ Interview with Jack, Clitoris, 25 June 2006. 8. Interview with Jack, Clitoris, 25 June 2006. 9. Although historical definitions differ, punk then shifted into a period at the very end of the 1970s described by some authors as ‘post-punk’. See, for example, Reynolds and Press (1995, 306). Post-punk was a move away from the strictly simple chord structures into more complex sounds, for example, The Cure and Siouxsie and the Banshees evolved into gothic rock. Other bands such as Joy Division and Magazine, and British all-girl band The Raincoats formed in the wake of traditional punk. 10. Palmolive from British all-girl punk band The Slits talks about her drum kit sliding all over the floor when she first started playing. See Raha (Citation2005, 79–85). 11. ‘The punk movement was intensely political. It was almost a celebration of not having to be an entertainer and it became kind of fashionable to not be pretty and to not be cute and stereotyped. Girls could be really tough and boys could put make up on. It was that kind of freedom. I loved it.’ Interview with Haines, Razor Cuts, 5 August 2006. 12. Razor Cuts also covered The Kinks’ ‘Lola’, with all its gender twists and turns. They were an all-women band doing a straight men's song about a homosexual situation and owning it as women. 13. Grace was probably working at the newly established mainstream radio station EON FM at the time of the incident. Interview with Leber and Glenn, Toxic Shock, 19 July 2006. 14. Robyn Archer produced the album with Diana Manson (Archer Citation2003). 15. Olivia Records was the first independent women's record label created in America in 1973 to record and market women's music (using formal and informal network methods) and was set up by a collective of women including Meg Christian. Olivia Records ceased record distribution in 1988 and the company became Olivia, the cruise line. Goldenrod Music was established in 1975 specifically to distribute for Olivia and is still going strong with a broad list of music. See the entry about ‘women's music’ available from Wikipedia. See also http://www.goldenrod.com 16. Lemons Alive is listed as number one on the ‘Scratches Oz Indie Chart’ produced by Scratches Record Shop, Newtown for the October–December 1983 quarter. 17. Foreign Body and Stray Dags both recorded vinyl in 1981 and 1983, respectively. The commercially oriented all-women band Party Girls recorded a self-titled album in 1984. 18. Interview with Leber and Glenn, Toxic Shock, 19 July 2006. 19. Now, with the advent of technological changes and the Internet, many musicians are knowingly turning or returning to DIY rather than be signed to an ineffective label (Carson, Lewis, and Shaw 2004, 142). 20. For example, Toxic Shock vocalist Fran Kelly attended her first International Women's Day march with her mother and sister in Adelaide, and for her that is where it all started. Interview with Kelly, Toxic Shock, 21 March 2006. 21. Interview with Ford, Flying Tackle, 1 September 2006. 22. Patti Smith's innovative lyric style, for example, has been given mainstream recognition only recently. 23. Faye Reid, bass player from all-women band The Party Girls (1983–1986), is acknowledged anecdotally as influencing the production of the largest-selling single 15-inch bass speaker box in Australia's history in 1978, the legendary (EV) TL15. The inspiration came from Reid, who had used an Altec/EV theatre box called a TL606 in Germany as a bass box. Reid asked one of the engineers at Jands, a PA company that makes and hires PA systems, to build something like it for her own use, and the TL15 was born. It officially became an Electro-Voice box in 1979. For more, see the online article about the history of Jands (Harrison with McCartney Citation2007). 24. Jennifer Rycenga (Citation1997) posits a framework for listening ‘lesbian-i-cally’ that other authors have since used to, for example, queer the work of P.J. Harvey. 25. Both Haines and Brown, for example, remember being mooned by a couple of drunken blokes at an Adelaide University gig. Interview with Haines, Razor Cuts, 5 August 2006; interview with Brown, Razor Cuts, 16 March 2006. 26. Anthony Carew (Citation2007) describes a recent reunion by The Slits in the following way: ‘In the annals of rock ‘n’ roll, The Clash and The Slits are portrayed in vastly different ways. The Clash are musical geniuses who authored a unique hybrid of punk and reggae. The Slits are a bunch of crazy chicks who got their kit off for the cover of their debut album.’ 27. Interview with Ford, Flying Tackle, 1 September 2006. 28. Interview with Haines, Razor Cuts, 5 August 2006. 29. Interview with Haines, Razor Cuts, 5 August 2006. 30. See, for example, Gfroerer's Citation2003 interview with Swedish all-women band Sahara Hotnights. 31. ‘How is it supposed to be a declaration of pride and strength’, asks American percussionist Vicki Randle, ‘when it dare not speak its own name?’ (quoted in Carson, Lewis, and Shaw 2004, 100). 32. See particularly Foucault (Citation1978). 33. During the 1980s, other all-women bands emerged in Australia, such as Nice Girls Don't Spit, who took their sexuality to the stage with an up-front, in-your-face style. 34. Interview with Bell, Toxic Shock, 22 March 2006. 35. Interview with Crennan, Clitoris, 3 July 2006. 36. Interview with Leber and Glenn, Toxic Shock, 19 July 2006. 37. Interview with Leber and Glenn, Toxic Shock, 19 July 2006. 38. Feminist criticism of a heavy electric guitar sound persisted well into the 1980s. Eve Glenn played in the punk- and metal-influenced Barbie's Dead (1984) with metal guitarist Jane Cottrill, who encountered outspoken comments on a number of occasions. 39. Interview with Brown, Razor Cuts, 16 March 2006.
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