tag:blogger.com,1999:blog-55580307196535029382024-02-18T21:50:00.393-08:00No Excuses No Butsngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-5558030719653502938.post-65862438990952996632020-09-25T04:38:00.006-07:002020-09-25T04:43:30.689-07:00Will being a feminist fuck up my career? <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBnFoSPmwtkE5vIedbnJX93wNahLdWm8G_xwffzG8I_esixTI0kieC6Gs9JztL8Pb4gUpOH9xJEtBjQ8Ku0bsr9x8A799d2Of7RlJ4npjFSf39W-xt3x6zsrBngfihSmWY6LH_UoW4S8/" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="438" data-original-width="438" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxBnFoSPmwtkE5vIedbnJX93wNahLdWm8G_xwffzG8I_esixTI0kieC6Gs9JztL8Pb4gUpOH9xJEtBjQ8Ku0bsr9x8A799d2Of7RlJ4npjFSf39W-xt3x6zsrBngfihSmWY6LH_UoW4S8/w400-h400/image.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Home from Melody Maker editorial, the day the paper came out, 90s by Michael Craddock<br /></td></tr></tbody></table><br /><b>An interview by student Elena Mesa Galarza. </b><p></p><p><b><span style="color: #01ffff;">https://thefriendlycritic.org/2019/07/20/interview-with-ngaire-ruth-research-is-being-a-feminist-gonna-fuck-up-my-career/</span></b></p><p><b><br /></b></p><p><b><br /></b></p><p><b><br /></b></p><p><br /></p>ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-30735945458716514812020-06-12T13:48:00.000-07:002020-06-12T13:48:49.687-07:00What did Riot Grrrl ever do for us? | Part 4 of 6 <br />
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<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimi21vY0tcTaHTWk1q-bsyzIhsqCJrBuKdDal4sfDrYr8rSUO3i2BgVjNTZ_5VtFotCEVJLxccQYYaKWqoIs60J99Q6Yr4n2qWENvQ2kemWsHi44Ef1q55RssBX-e8gplF1yzfBTCTu9Y/s1650/Fanzine+90s+What+is+a+grrrl+zine.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1275" data-original-width="1650" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimi21vY0tcTaHTWk1q-bsyzIhsqCJrBuKdDal4sfDrYr8rSUO3i2BgVjNTZ_5VtFotCEVJLxccQYYaKWqoIs60J99Q6Yr4n2qWENvQ2kemWsHi44Ef1q55RssBX-e8gplF1yzfBTCTu9Y/w640-h494/Fanzine+90s+What+is+a+grrrl+zine.png" width="640" /></a></div>
<h3>
<b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: large;">You need to know </span></b></h3>
<h3>
<b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Start
an angry grrrl zine</span></b></h3>
<ul type="disc">
</ul>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;">Y</span><font size="2" style="line-height: 2;">ou're
about to enter a whole new world; an absolute treasure trove of information,
ideas, symbolic images, and sketches, a fandom that is not adoration, but
engaged and articulate in its representation.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Fanzines
are synonymous with music, but they're also a whole subculture by themselves,
and zine writers, the true archivists of contemporary culture. Originally the
realm of science fiction fans, who started to fall in love with rock n roll,
they're fun, imaginative, and full of information beyond the mainstream sources
about your politics, rights, interests, favourite band, scene or genre.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">The
infamous <i style="line-height: 2;">Oz</i> magazine - taken to court for obscenity charges (in the
magazine) - and <i style="line-height: 2;">Rolling Stone</i> magazine, with Hunter S Thompson as its
political editor, talking anti-Vietnam with John Lennon, both started out as
the underground press, DIY projects with an agenda that sought to challenge the
structure of things. <i style="line-height: 2;">Boys Own</i> fanzine, launched in 1986, about clubbing,
football, tales of cocks shaped like a carrot, and clothes, did not a
revolution make, but it documented one and went on to influence the consumer
magazines for men, such as <i style="line-height: 2;">Loaded,</i> which boomed in the 90s, pre-digital.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">The
psychedelic fanzines may seem more flippant and indulgent compared to the
famously political and poetic hardcore punk fanzines, such as <i style="line-height: 2;">Sniffin' Glue</i>,
but there’s no doubt that zines like Gong's championed a new way of life
outside the system just the same. Gilli Smyth and Daevid Allen, of Gong fame,
met during the Paris 1968 riots and had to flee the city (Huggy Bear's beloved
Situationism).<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">"She
met Allen in Paris where she was teaching at the Sorbonne. The pair, united by
political motivations, performed a guerilla gig during the 1968 student riots,
which led to them having to flee the city. Together, they set up the Gong
community: a collective of musicians, artists, poets, and writers." <a href="http://www.thegirlsare.com/2016/10/26/blog-gill-smyth-remembered/" target="_blank">Ngaire
Ruth, (2016) <i style="line-height: 2;">Gilli Smith remembered, an obituary dedicated to an
underrated lyrical luminary, the girls are</i>.</a><o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">In my
opinion, the difference with riot grrrls and their relationship with fanzines
is this: the bands and many of those involved front of house, and behind the
curtain, were running and writing for zines before they were in bands. Music
was a medium for the message. It's well known Bikini Kill's Kathleen Hanna was
a spoken word artist and writer before being in a band, and it was the punk author
<a href="https://www.rcwlitagency.com/books/kathy-acker-biography/">Kathy Acker</a> who suggested to her that music was a bigger medium than spoken
word. Media theory argues that its the
mediation process - the journey between the message and the medium - that must
also be viewed through a feminist lens, not just the outcome, because it's
during the process of creation, in other words, the mediation of a message,
that it can all go wrong, due to other skilled contributors, and collaborators
with different viewpoints and assumed cultural attitudes. Riot Grrrl musicians,
writers, organisers, and artists, maintained a clear feminist agenda, from inception
to outcome. The singer is the interface between the music and the words, and she's a feminist, with a plan, and a gang. <o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">This
doesn't happen in mainstream media: photographers, subs, editors, production
teams all contribute to the final piece of writing on the page and can change
the meaning, demean a point of view, or the subject of the writing. Consequently,
riot grrrl is not a fan of the British music press or the broadsheets on either
side of the Atlantic.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">In the early 90s, bands started to use fanzines as a promotional tool, a way of making
people feel they belonged to a club with shared values and lifestyle, and the privilege of direct access to the latest news about their favourite artists.
This resulted in watered-down fanzines, with little comment, original art, or
effort in the writing.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">The
post-punk DIY underground press and the music scene had dissipated as all the
indie bands sought to sign to majors - bringing us to the generic insipid
form of indie recognised by the mainstream today. <i style="line-height: 2;">Melody Maker</i> and <i style="line-height: 2;">NME</i>
were no longer gatekeepers of contemporary music culture, but music scouts for
the majors. <o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<h3 style="line-height: normal;">
<b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: large;">You should know</span></b></h3>
<h3 style="line-height: normal;">
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Language is man-made, so make a new one </span></span></b></h3><div style="line-height: 2;">
<div class="MsoNormal" style="line-height: 2;">
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><font face="helvetica" size="2" style="line-height: 2;">Bikini
Kill came out of <i style="line-height: 2;">Jigsaw,</i> and <i style="line-height: 2;">Bikini Kill</i>, the zines, Bratmobile
came out of the fanzine <i style="line-height: 2;">Girl Germs</i>. Many of the women who helped shape riot
grrrl were writers before they were musicians in cool grrrl bands. Layla Gibbon
of Skinned Teen, the first original riot grrrl band in the UK and inspired by
the experience of Bikini Kill in the UK live in 1993, at 15, went on to write
for <i style="line-height: 2;"><span style="color: blue; line-height: 2;"><a href="http://maximumrocknroll.com/">MaximumRockNRoll </a></span></i>where she recruited many more
women writers into the citadel of macho hardcore music.</font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><br /></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;">Tobi Vail
has been writing zines for over 20 years, starting out in 1988/89 with<a href="http://jigsawunderground.blogspot.com/"> </a></span><i style="line-height: 2;"><span style="color: blue; font-size: 12pt; line-height: 2;"><a href="http://jigsawunderground.blogspot.com/">Jigsaw</a></span></i></font><span style="font-size: 12pt; line-height: 2;"><font size="2" style="line-height: 2;">. The legacy retells how she
would use the expression angry grrrl zines. Like many of the riot grrrls, Tobi
has taken some pains to archive her material and comment in a blog - this link
goes right back through the decades and up to 2013, at the time accessed [May
2019].</font><o:p style="font-size: 12pt;"></o:p></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpxdbTZBhOTD5qy48LR_cg2OWqY6KWRrTsleljDuEc9sQmrNW5sSbcYB-5CLNEOBxOSfJaSKYeWp6uFDtM9eBcT3le1VQ9hslX79jSL2DDea8LoiQGqCi8_jag8xrW74fhEwoy0ogRdkk/s800/fanzine+90s+jigsaw+tobi+v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="518" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpxdbTZBhOTD5qy48LR_cg2OWqY6KWRrTsleljDuEc9sQmrNW5sSbcYB-5CLNEOBxOSfJaSKYeWp6uFDtM9eBcT3le1VQ9hslX79jSL2DDea8LoiQGqCi8_jag8xrW74fhEwoy0ogRdkk/s320/fanzine+90s+jigsaw+tobi+v.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdm6DH6ELBeSjd4jHGS0T_bUQuYH0f2PZQyHXieqOHoWV6m-f_kI-NhK-T2ItLPEdqcwSLvvkGpnCAy_8F2z4SuJ5jvfhx7hPacQCZKNENAYy7OpdStM7prWMzzXTaTezfBlAZPYXFS1M/s700/Fanzine+90s+girl+germs.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="468" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdm6DH6ELBeSjd4jHGS0T_bUQuYH0f2PZQyHXieqOHoWV6m-f_kI-NhK-T2ItLPEdqcwSLvvkGpnCAy_8F2z4SuJ5jvfhx7hPacQCZKNENAYy7OpdStM7prWMzzXTaTezfBlAZPYXFS1M/s320/Fanzine+90s+girl+germs.jpg" /></a></div><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">According
to legend, riot grrrls "deliberately used grrrl instead of girl to remove
the passive association with the word girl, as well as to display the anger
behind the movement, reminiscent of a growl". Rosenburg, (1998), <i style="line-height: 2;">RiotGrrrl-Revolutions-From-Within. </i></font></span></span><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small;">Jen
Smith, musician, artist and zine writer, is credited with being the inspiration
behind the term riot grrl.</span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">While
living in Washington DC she wrote to <i style="line-height: 2;">Girl Germs</i> about the riots
happening in her city, predicting a girl riot for the upcoming summer.
Bratmobile moved to Washington DC and Jen joined the band, proposing
they do a zine called <i style="line-height: 2;">Girl Riot</i>. Molly Neumann began the
zine, with contributions by Jen, Allison, and members of Bikini Kill, who had
also relocated to Washington D.C. (Jen Smith, ZineWiki)<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Angry
grrrl fanzines excelled. Every slogan, article, sound byte, and image in these
zines reflected a fresh and relatable political agenda; for RG, a feminist
viewpoint, great zine names, and a sense that feminism is fun. Examples are <i style="line-height: 2;">Riot
Grrrl</i>, Jen Smith's <i style="line-height: 2;">Red Rover, Nerd Girl, Impossible Schizoid
Girl, GERLL Press. Trouble Girls, Red Stocking</i>.<o:p></o:p></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Subjects
included poetry and short stories, grrrl manifestos, news of girl band gigs,
workshops, new RG chapters or other fanzines, alongside slogans, images and
articles about body image and consciousness, women's health, rock music
and punk music, violence against women, sexual identity, homosexuality, and
bisexuality.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<font size="2" style="line-height: 2;"><br /></font></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;">Sara
Marcus, in </span><i style="font-size: 12pt; line-height: 2;">Girls to the Front </i><span style="font-size: 12pt; line-height: 2;">(2010), includes a list of fanzines
related to riot grrrl in the 90s but there are countless other fanzines out
there, written by girls (and boys) that just did it, for a month, a year or so,
stored in shoeboxes, or dusty folders, in picture frames on record shop walls,
all over America, UK, Europe, Canada, and Australia. Anyone could/can be a riot
girl or boy.</span></font></span></div>
<div class="MsoNormal" style="line-height: 2;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></b></div><div class="MsoNormal" style="line-height: 2;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">How does it work?</span></span></b><span style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"> </span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Write
about what you love, what's important to you and lace everything with a
distinct personal point of view that your future tribe can identify with. It’s
all about sharing the love, communicating and celebrating action/reaction through
words, art, music.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<font size="2" style="line-height: 2;"><br /></font></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">It’s
something you can do on your own without any money, all you have to do is write
it, photocopy it, staple it together, and give it out for free, or sell it
super cheaply, at the next gig you’re at. They work better in the company of
friends who can also write, draw, sketch, organise and administrate.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
</div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Serious
fanzines had PO boxes or even home addresses for people to send a
self-addressed stamped envelope inside another, with a cheque for everything
from one Pound to three. It worked - less instant than new media and there was
something in the waiting, the one copy, the commitment it takes to organise
SAE's.</font><o:p style="font-size: 12pt;"></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></div>
<h2 style="line-height: normal; text-align: left;"><b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: large;"><font size="4">Be nice to know </font></span></b></h2><h3 style="line-height: normal;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Everything changes - new writing</span></span></b></h3><ul style="text-align: left;" type="disc">
<li><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><font size="2" style="line-height: 2;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">This is happening without your permission (in the UK)</span></span></b></font></span></span></li></ul>
<div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small;">Girl love
in the UK went the same way as it did in the States, triggering a sudden influx
of women singer-songwriters, musicians, artists and designers, new writing in
fanzines and magazines, books, documentaries, academic theory, and writing,
managers, independent press agents, sound engineers, and producers.</span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Where
there had once been a dearth of women represented in a usual band environment –
live shows, rehearsals, studio time - and therefore open to more everyday
sexism from the fans, colleagues, promoters, and other bands, now there was
majority of women, on the stage, behind the scenes, and in the audience.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font face="helvetica" size="2" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;">The Leed's based Ablaze fanzine, started by <a href="https://thefword.org.uk/2016/01/karren_ablaze_2016/">Karren Ablaze</a>, covered all the up and coming guitar bands featured in the independent consumer magazines, and the weekly music press - only they were approaching it with an understanding that music journalism is a gendered language, that needs to change, and content was not restricted to the most popular. </span></font></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="628" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinU99xA_1h1ql1KD20GWyK3loY7d3b7pQD5HcxVJ8WlDuv8naeLfE_bSnlmXc6Yjy86Pm2Tg-wDGtBaMswT4F_u6Ch1DrAaaKStnCYYP72CmHL5xg6mJaEGuTyj5ut102exBSFObSW6As/s320/fanzine+ablaze+issue+5.jpg" /></div></font></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><br /></span></font></span></div><div class="MsoNormal" style="line-height: 2;"><font size="2"><span style="background-color: white;"><font face="helvetica neue, arial, helvetica, sans-serif">C</font></span><span style="background-color: white; color: #2b2b2b; font-family: helvetica;">hroniclista</span><span style="font-family: helvetica; font-size: 12pt; line-height: 2;"> </span></font><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small; line-height: 2;"> Karren, made this map of Riot Grrrl in the UK in 1993. </span></div><div class="MsoNormal" style="line-height: 2;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyRIVi8KFNuAR2_WrrzvOi0S5l1Xs5QhUWk9sSULvGuSy-1hm-jaGupZkUJTu-qlze1NJ4hF6sLDmoFLn_BEew6vAnUNSlhyTIylqluAnzojyhM4yb-9wB1OfNCVlV4JWrEj6L_DkAHo/s1024/map+made+by+Karren+from+Loud+Women+interview.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="670" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyRIVi8KFNuAR2_WrrzvOi0S5l1Xs5QhUWk9sSULvGuSy-1hm-jaGupZkUJTu-qlze1NJ4hF6sLDmoFLn_BEew6vAnUNSlhyTIylqluAnzojyhM4yb-9wB1OfNCVlV4JWrEj6L_DkAHo/w261-h400/map+made+by+Karren+from+Loud+Women+interview.jpg" width="261" /></a></div></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small; line-height: 2;"><br /></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small; line-height: 2;">She now owns her own publishing company. The archive collection, a story of a post-punk pop-zine, featuring ten issues of Ablaze!
crammed together in a big book you can keep proudly on a shelf. </span><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small;">Read my review</span><a href="http://www.thegirlsare.com/2012/11/20/review-the-city-is-ablaze/" style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small;"> here. </a></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1HTtpmOJfCALNJmKW0_vmEPM78upW96mTLP6VDA0mlokcfyO5KVfrpIlV0F7qXDRbuDfRf4jFg_1UmEAyhBc4qOThmYfgN8BRDhw5N4LP3-c-qqQYC7gMhdA7EXk9sJV1DbAp7FkKSk/s499/ablaze+the+city+is+ablaze.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="353" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1HTtpmOJfCALNJmKW0_vmEPM78upW96mTLP6VDA0mlokcfyO5KVfrpIlV0F7qXDRbuDfRf4jFg_1UmEAyhBc4qOThmYfgN8BRDhw5N4LP3-c-qqQYC7gMhdA7EXk9sJV1DbAp7FkKSk/s320/ablaze+the+city+is+ablaze.jpg" /></a></div><font size="2" style="line-height: 2;"><br /></font></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">There had
always been a boys club in the underground, at last girls united in common
goals. We could make a commitment to a long-term, alternative lifestyle,
outside the system, because riot grrrl created the options of a global,
national, and the local community to which we belonged. </font><o:p style="font-size: 12pt;"></o:p></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><ul style="font-family: "times new roman"; font-size: medium;" type="disc"><li class="MsoNormal" style="line-height: normal;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Support each other, collaborate and communicate, don’t compete, use the power of female friendship, and “make your voices heard together”.</span></span></b></li></ul></font></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small; line-height: 2;">No one
waited to be told/asked. I've heard stories of girls going into major
newsagents and slipping riot grrrl feminist manifestoes and flyers between the
pages of the girly mainstream magazines. New chapters hosted their own riot
grrrl events in their local towns and cities. Bands and billings began to
support new charities (to rock’n’roll), such as women who’ve suffered domestic
abuse, campaigns to fight the anti-abortionists, the bully promoter, the
indifferent sound engineer. </span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Jennifer
and sister Tammi from Linus set up a post box for girls who wanted to launch
their own zine. Their own fanzine was called <i style="line-height: 2;">It’s Unofficial</i>.
Jen's philosophy was if you wanted to be a riot grrrl you were one. <o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">"You
didn't need to sign up for anything. You just got out of bed and you said, 'I
am.' I had the idea that if you told two friends, your two friends told two
friends, you could really change the world." Jennifer Denitto, interview
with Sara Marcus, (2010) <i style="line-height: 2;">Girls to the Front.</i></font><o:p style="font-size: 12pt;"></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<h3 style="line-height: normal;">
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">DIY tradition (make a new system)</span></span></b></h3>
<ul type="disc">
<li class="MsoNormal" style="line-height: normal;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Create
non-hierarchical ways of being and making music friends: communication +
understanding instead of competition + good/bad categorisations<o:p></o:p></span></span></b></li>
</ul>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">Riot
Grrrl feminism is anti-capitalist, does not judge women by how much power
they’ve achieved in the system, or by financial success. Huggy Bear was also
concerned that the whole ethic of punk was getting lost, as indie bands raced
to become mainstream indie-pop stars and get a major deal, and a house in the
country.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<font size="2" style="line-height: 2;"><br /></font></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2" style="line-height: 2;">“If we
don’t challenge the unhealthy forms of competitiveness that capitalism breeds,
or the way it teaches us to objectify ourselves to each other, then we’re just
selling ourselves out … We need to at least create new structures and new ways
of dealing with things.” Kathleen Hanna (1998), interview extract, <i style="line-height: 2;">Punk
Planet magazine</i>, sourced Cherie Turner, <i style="line-height: 2;">The Riot Girl Movement.</i><o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;"><b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: large;"><br /></span></b></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: helvetica; font-size: small;">Image sources and recommended reading </span></div></div><div><font face="helvetica" size="2">Karren Ablaze Riot Grrrl in the UK map (1993), <a href="https://loudwomen.org/tag/karren-ablaze/">https://loudwomen.org/tag/karren-ablaze/</a> </font></div><div><p class="MsoNormal" style="line-height: normal;"><font face="helvetica" size="2"><i>A Girls
Guide to Taking Over the World, Writing from the Girl Zine Revolution, (1997)</i> Karen Green and Tristam
Taormino, ed, St Martins Press: New York<o:p></o:p></font></p>
<p class="MsoNormal" style="line-height: normal;"><font face="helvetica" size="2"><i>Angry
Women</i>, (1991)
Andrea Juno and V. Vale, ed, Re/Search publications</font></p>
<p class="MsoNormal" style="line-height: normal;"><font face="helvetica" size="2">Kathleen
Hanna (1991), <i>Bikini Kill fanzine, A Colour and Activity Book</i>, <i>Women
Make Noise</i> (2012), Julia Downes ed, <i>Riot Grrrl, Ladyfest and Rock Camps
for Girls, </i>p265.<o:p></o:p></font></p>
<p class="MsoNormal" style="line-height: normal;"><font face="helvetica" size="2">Kathleen
Hanna, Interview extract, <i>Punk Planet magazine</i>, sourced Cherie Turner, <i>The
Riot Girl Movement,</i> The Rosen Publishing Group: New York, p13.</font></p>
<p class="MsoNormal" style="line-height: normal;"><font face="helvetica" size="2">Sara
Marcus,(2010) Girls<i> to the Front, This is happening without your permission,
</i>Harper Perennial: New York, p260<o:p></o:p></font></p>
<p class="MsoNormal" style="line-height: normal;"><font face="helvetica" size="2">J.
Rosenberger & G. Garofano (1998) <i>Riotgrrrl: Revolutions from
Within, </i>https://www.scribd.com/doc/36791709/Riotgrrl-Revolutions-From-Within
[accessed May 2019]<o:p></o:p></font></p></div><div><font face="helvetica" size="2"><br /></font><div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<br /></div></div>ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-41871806510858114712020-05-23T03:46:00.122-07:002020-06-12T15:57:15.287-07:00What did Riot Grrrl ever do for us | Part 3 of 6 <br />
<div class="MsoNormal" style="line-height: normal;">
<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4lUtso2wuxVLFo1BusPrf4P5KfKVM5lxqKfHBGWbC6EMhttySb4PTo9OYBGiIUbkfmv-Udfax7vSIUz-Sh8DLaKdR5YVzzWqzWsdXVJBw2RYQyzqP65RRSG2qVl9N0B_b2NaiV7-Ca54/s960/Ngaire+Ruth+with+Toxic+Shock+Live+Bull+%2526+Gate.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="960" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4lUtso2wuxVLFo1BusPrf4P5KfKVM5lxqKfHBGWbC6EMhttySb4PTo9OYBGiIUbkfmv-Udfax7vSIUz-Sh8DLaKdR5YVzzWqzWsdXVJBw2RYQyzqP65RRSG2qVl9N0B_b2NaiV7-Ca54/w640-h434/Ngaire+Ruth+with+Toxic+Shock+Live+Bull+%2526+Gate.jpg" title="Pic Mick Mercer Ngaire Ruth with Toxic Shock Syndrome @ Bull & Gate 1991" width="640" /></a></div>
<div class="MsoNormal" style="line-height: normal;"><h3><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">You Need to Know</span></span></b></h3>
<h3>
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">The early girls in bands in the UK </span></span></b></h3>
</div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2;"><font size="2">At last, I have
like-minded, feminist friends! This is a big deal, it's lonely inside my head; other heterosexual girls like me don't seem to realise how much they're defined by the men in their lives. </font></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: center;"><br /></div><div class="MsoNormal" style="line-height: normal;"><span style="font-size: 12pt;"><b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></b></span></div><div class="MsoNormal" style="line-height: normal;"><span style="font-size: 12pt;"><b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Silverfish</span></b></span></div><div class="MsoNormal" style="line-height: normal;"><span style="font-size: 12pt;"><b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></b></span></div><div class="MsoNormal" style="line-height: normal;"><span style="font-size: 12pt;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EDXpDc_e9elFj-78gyxlXIGulMW6wNbth37PXHau_m2J19h9edIVg-EvLZTzISndpZ69qhyphenhyphencJGTq8_vk8ts3kXAOrVsv9N_yQ5cwc3I4WN3qxIDzPQwQNOR4WkCn_lWkWjlkwRktCiY/s456/Lesley+of+Silverfish+.png.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="456" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EDXpDc_e9elFj-78gyxlXIGulMW6wNbth37PXHau_m2J19h9edIVg-EvLZTzISndpZ69qhyphenhyphencJGTq8_vk8ts3kXAOrVsv9N_yQ5cwc3I4WN3qxIDzPQwQNOR4WkCn_lWkWjlkwRktCiY/w400-h263/Lesley+of+Silverfish+.png.jpg" width="400" /></a></div><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></b></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Awesome vocalist Lesley, an art
student dancing hard in her DM's, and ramshackle Th' Faith Healers,
fronted by Roxanne, a hippy girl in a punk band with razor-blade guitars, an
excellent combo. Now at least when a girl's in a band of men, the men can be
feminists too.</font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">I go on
tour with Silverfish in a silver bus. We are slowly being poisoned by fumes
getting back into the bus, but we look cool going all the way to Scotland from
north London. We roll down green hills together and eat good home cooking at
Lesley's mum's Scottish B & B.</font><o:p style="font-size: 12pt;"></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal;"><b style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></b></div><div class="MsoNormal" style="line-height: normal;"><b style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">The Faith Healers </span></b></div><div class="MsoNormal" style="line-height: normal;"><b style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></b></div><div class="separator" style="clear: both; text-align: center;"><span style="clear: right; float: right; font-family: "helvetica neue", arial, helvetica, sans-serif; margin-bottom: 1em; margin-left: 1em;"><img src="https://www.atpfestival.com/sized/files/img/artists/thfaithhealers_240x0.jpg" /><img alt="Biography - Th' Faith Healers" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEiaX6KxDlm5sKCct-4sbMmWbB9DJiWXqnstMWUIj0pHSASBtwpn5xLRZJf8w-9o3eBZm8yOih5d4rD9U6E6ZWYHUOv9jdfvZvmmBZP4rXpeIZ7_HTejPrN-mpwkhYO2m2YOI8eIXI5o5i8UeoCL84Rcxc-yy1WDGASs4oI=" /></span></div><div class="MsoNormal" style="line-height: normal;"><b style="font-size: 12pt;"></b></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><font size="2">Frontwoman Roxanne makes me a badge with her own craft set with the words GIRL
POWER on it. Life on the underground live circuit is good. FACT FANS:
Silverfish member Fuzz is the resident sound engineer at a well known Camden
venue these days.</font></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">We talk
about P. J. Harvey and the women bands in the States.<o:p></o:p></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;"><font size="2"><br /></font></span></div><div class="MsoNormal" style="line-height: 2; text-align: left;"><font size="2"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">Julianna
Hatfield has also come out saying she's not a feminist, an American artist on a
cool label (Mammoth). I share my copy of the </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2;">Melody Maker</i><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">, August 8th,
specifically the Julianna Hatfield album review of </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2;">Hey Babe</i><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">, and the
photo comment, which is bigger than the capped artist name, the brilliant
photographer or, the writer's name, David Bennum. SCHWWWING! There is no big
band musical influence or bell features in the album. I wonder why she thinks
she doesn't need feminism?</span></font></div><div class="MsoNormal" style="line-height: normal;"><span style="font-size: 12pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzj5iOikdPSw6J9LuRC6Hy37RTuPSo4YRwUHulNXKCEcTlphyphenhyphenkget-r99pnCVGbcuSSbnQjouTKmrZSnTnXUWP2q4EzIXvjvoKb1J25eDSY5B4cwWkw-p8FI4VxlUv5lWEWSKNqyjmGI/s702/Julianna+Hatfield+MM.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="513" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzj5iOikdPSw6J9LuRC6Hy37RTuPSo4YRwUHulNXKCEcTlphyphenhyphenkget-r99pnCVGbcuSSbnQjouTKmrZSnTnXUWP2q4EzIXvjvoKb1J25eDSY5B4cwWkw-p8FI4VxlUv5lWEWSKNqyjmGI/w234-h320/Julianna+Hatfield+MM.jpg" title="Pic Ngaire Ruth's own copy, Julianna Hatfield Steve Gullick for Melody Maker" width="234" /></a></div><div class="MsoNormal" style="line-height: normal;"><br /></div>
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<span style="font-size: 12pt;"><b><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">BEEF</span></b></span></div>
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<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;">Vocalist Jayne may well have been an unconventional, punk girl, similar in performance style to Lesley's power strides, smiles and scowls, yet Beef was a guitar pop band, producing some classics. This contrast was a beautiful thing to experience live. </span></div><div class="MsoNormal" style="line-height: normal;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><br /></span></div><div class="MsoNormal" style="line-height: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGz02gpb03z7-oVMtUvnXPpuOt8Bk-bT886K9FPQ78dWrYhp4-rS95ZDhDBgB3CKUOLPw-NmF077pvgZlNwbfINHVswPJiVvvqX6ZOG2Ak2C_2ta9lVyLlgN2LeF14AfvLzrUD7FXReTA/s810/Beef+Jane+Goff+by+Mick+Mercer+Feb+1990+Bull+and+Gate.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="810" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGz02gpb03z7-oVMtUvnXPpuOt8Bk-bT886K9FPQ78dWrYhp4-rS95ZDhDBgB3CKUOLPw-NmF077pvgZlNwbfINHVswPJiVvvqX6ZOG2Ak2C_2ta9lVyLlgN2LeF14AfvLzrUD7FXReTA/w400-h269/Beef+Jane+Goff+by+Mick+Mercer+Feb+1990+Bull+and+Gate.jpg" title="Jane Goff, Beef by Mick Mercer @ Bull & Gate, London 1990" width="400" /></a></div><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><br /></span></div>
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<b style="line-height: 2;"><span style="font-size: 13.5pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;">Toxic Shock Syndrome, Frantic Spiders</span></span></b></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">The
cassette box, which arrives in an unsuspecting envelope in my pigeon hole at
the <i style="line-height: 2;">Maker,</i> is magical and sweet, decorated in florescent bold colours,
words and symbols - open the box, sparkles fall out - has nothing dark,
and fearful about it. The band name, on the other hand, is in yer face and
real, a thing girls don't talk about: Toxic Shock Syndrome. Love them before
I've heard a thing.<o:p></o:p></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">They're
perfectly untarnished and genuinely interested in all contemporary music,
locals at the resident music bar, The Cavern, no famous boyfriends, or
well-placed friends in music journalism. They want input much more than they
want fame; I relate.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">One night
I join Toxic Shock Syndrome on stage, at the Bull & Gate, London, wearing
the second-hand wedding dress vocalist and guitarist Ronnie has acquired for
me, with instructions to kill the plastic baby doll on 'the eye'. I
wasn't really looking and cut my hand. I'm proud to say that Ronnie reports the
dress still has my blood on it. It marks an important night, it's like I made
some kind of girls in rock who are radical feminists pact with these women.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">I take
Charley to her first Riot Grrrl event, Huggy Bear, and she makes contact with riot grrl band Linus, it's a brave new world. She goes back to
Exeter and pastes riot grrrl flyers and her own power statements all over the
place, and reads the fanzines she's collected.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Frantic
Spiders are four ordinary girls, including two of TSS. This is a
celebration of girls' voices, loud guitars, and new friends. Riot grrrl is in
the UK! I think guitarist Charley Stone will move to London and forever be part
of the music scene, changing lives, putting it out there, an accomplished and
adored lead guitarist. This happens. I write about Frantic Spiders for the <i style="line-height: 2;">Maker</i>.
I love that they talk about their instruments. Guitarist Charley Stone has two
guitars and names them Charlotte and Emily. This is fresh and thrilling
for me, and hard to imagine if you're a girl guitar ACM student carrying your
baby around with you all day and assuming every woman guitarist has been like that
for all time. There were no contemporary music schools for girls yet - the riot
grrrl rock schools were the first.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Frantic
Spiders release one of the best singles of that era 'You're Dead'.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><i>"Riot
Grrrl actually changed a lot of lives, it was a key galvanizing moment which
got loads more women playing the guitar, changed the way we thought about
ourselves and made a new space for women to not just be the “queen bee”, the
token woman-in-rock, the Suzi Quatro in a man’s world. The effects were far
wider-reaching than any reading of chart/music press success would
indicate." Charley Stone (2019)</i><o:p></o:p></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
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<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><span style="font-size: 12pt; line-height: 2;">Charley
now plays in several bands including </span><a href="https://thehitsofkeithtotp.bandcamp.com/album/livin-the-dream" style="line-height: 2;"><span style="color: blue; font-size: 12pt; line-height: 2;">Keith Top of the Pops</span></a><span style="font-size: 12pt; line-height: 2;">, </span><a href="https://desperatejournalist.co.uk/" style="line-height: 2;"><span style="color: blue; font-size: 12pt; line-height: 2;">Desperate Journalist, </span></a><span style="font-size: 12pt; line-height: 2;">and </span><a href="https://www.saladband.com/" style="line-height: 2;"><span style="color: blue; font-size: 12pt; line-height: 2;">Salad. </span></a><span style="font-size: 12pt; line-height: 2;">See pic, Q magazine June 2019, an excellent
interview with music journalist and contemporary </span><span style="color: blue; font-size: 12pt; line-height: 2;"><a href="https://muckrack.com/victoria-segal" style="line-height: 2;">Victoria Segal.</a></span></font><span style="font-size: 12pt;"><o:p></o:p></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qjx2pAGL-igOvqastBSQSNO8Ghn7_72IVM_VrUWgFXHUXrm9XSxTDJ5ECC6THRgOXkr5JbwjNG-ug44k_bZvfwtS_kO4ccQVwXB9VcroLkJW7PM1WrK7IUPe6lFIlGPwRVcCGzONY1o/s960/Salad+in+MOJO+2019.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1qjx2pAGL-igOvqastBSQSNO8Ghn7_72IVM_VrUWgFXHUXrm9XSxTDJ5ECC6THRgOXkr5JbwjNG-ug44k_bZvfwtS_kO4ccQVwXB9VcroLkJW7PM1WrK7IUPe6lFIlGPwRVcCGzONY1o/s320/Salad+in+MOJO+2019.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><b style="text-align: left;"><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></b></div><div class="separator" style="clear: both; text-align: center;"><b style="text-align: left;"><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div></span></div>
<div class="MsoNormal" style="line-height: 2;"><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="4"><b>New indie labels </b></font></span></span></div><div><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="4"><b><br /></b></font></span></span></div></div><div class="MsoNormal" style="line-height: 2;"><div class="separator" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcPSKm3qz9T0OHTE35_Vuf_2xQAGSzjFz40Fmc2tA_qpeaWK_OS-u30NgmhmtHXag8T5mRXMfWV0wkmB1uXy7haH2ryhC6XylZDkHOftH7j8OBT0kTYHk51ki8J3BOvPoi3C1TdvjljA/s243/wiiija+logo.jpg" imageanchor="1" style="clear: right; display: inline !important; float: right; font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="243" data-original-width="186" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcPSKm3qz9T0OHTE35_Vuf_2xQAGSzjFz40Fmc2tA_qpeaWK_OS-u30NgmhmtHXag8T5mRXMfWV0wkmB1uXy7haH2ryhC6XylZDkHOftH7j8OBT0kTYHk51ki8J3BOvPoi3C1TdvjljA/w153-h200/wiiija+logo.jpg" width="153" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdIgGKluMgLJBX-KCrcHEYrKCC4fPha_5h-EzJBUwlmt4uit8Na1BtHy45fI5VPcYWA59zqVHLNHn5_wWftKGGN6hGp3ng8pHQ38Z3zsiWiSgO8914Lx3FULtwOJRMRRsEeVhEq7CYO7w/s286/sarah+records+logo.png" imageanchor="1" style="clear: left; display: inline !important; float: left; font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: small; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="176" data-original-width="286" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdIgGKluMgLJBX-KCrcHEYrKCC4fPha_5h-EzJBUwlmt4uit8Na1BtHy45fI5VPcYWA59zqVHLNHn5_wWftKGGN6hGp3ng8pHQ38Z3zsiWiSgO8914Lx3FULtwOJRMRRsEeVhEq7CYO7w/w200-h123/sarah+records+logo.png" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH62Etc2wQpwWjL4Vbx9oigR12FlrsU770sXELXL_aylg5zmtsUXoKmiY6H_QdTPuWcuCUbrFGtGe34wotMJvZtLcdKRJcQ_LLRiOCBOWehQPQ1MZtOwJQUMMVZhddKyCNwHbl-e_Jk8Y/s300/Heavenly+logo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH62Etc2wQpwWjL4Vbx9oigR12FlrsU770sXELXL_aylg5zmtsUXoKmiY6H_QdTPuWcuCUbrFGtGe34wotMJvZtLcdKRJcQ_LLRiOCBOWehQPQ1MZtOwJQUMMVZhddKyCNwHbl-e_Jk8Y/w200-h200/Heavenly+logo.jpg" width="200" /></a></div><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><br /></div><div class="MsoNormal" style="line-height: 2;">A lot of the current UK bands are with the new independent labels, Wiiija and Too Pure, the latter is also the promoter of the Sausage Machine @ The White Horse, Hampstead, referenced in Part 1. Wiiija's riot grrrl bands are handled by Olympia's Kill Rock Stars label, and viz-a-viz.</div><o:p></o:p></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
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<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><span style="font-size: 12pt; line-height: 2;">A band called Tsunami and an American label, Simple Machines, founded by singer and guitarist Jenny Toomey and run with bandmate Kristin Thomson, is a lovely thing to discover. I'm also a little bit in love with anything that comes out of the New York Shimmy Disc label, owned by musician Kramer. One of his artists, </span><span style="font-size: 11pt; line-height: 2;"><a href="https://www.facebook.com/groups/5123364266/" style="line-height: 2;"><span style="color: blue; font-size: 12pt; line-height: 2;">Lida Husik</span></a></span><span style="font-size: 12pt; line-height: 2;">, stays at my north London flat during a short UK visit to vaguely promote her album, and leaves me the most fabulous thank you present: <i style="line-height: 2;">Angry Women</i>, (1991) The inscription reads: </span></font></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8r7jPpi9a46djfxZcMglnrLHKrWDSiyYVXH0P71JlMkRuuQ1-BxVgFu_1BE5ASECs6NXG4EXUo0O8APHFt694DN7KFp4aIcYI4Whm1DuGlFFXqgSzVB1ffqVpLUuWKw642I0qaiTNF34/s400/Angry+Women+caption+from+Lida+Husik+to+me.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8r7jPpi9a46djfxZcMglnrLHKrWDSiyYVXH0P71JlMkRuuQ1-BxVgFu_1BE5ASECs6NXG4EXUo0O8APHFt694DN7KFp4aIcYI4Whm1DuGlFFXqgSzVB1ffqVpLUuWKw642I0qaiTNF34/s320/Angry+Women+caption+from+Lida+Husik+to+me.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"></span></div>
<div class="MsoNormal" style="line-height: 2;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">You Should Know</span></span></b></div><div class="MsoNormal" style="line-height: normal;">
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Punk legacy </span></span></b></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Punk had
shown mainstream a new kind of representation of women singer-songwriters, and musicians,
as individual performers with anger, outrage, and an alternative style and
fashion.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Poly
Styrene of X-Ray Specs showed us how to delight in the fury. Frontwomen such
as Pauline Murray, of Penetration, Debbie Harry, of Blondie and Siouxie Sioux,
of Siouxie and the Banshees, Chrissie Hynde of The Pretenders, were all super
sexy women in full control (this is not aspirational for a teen girl, in
general). They were one woman in a band of men, and that’s how they seemed to
like it. Even my own icons did not escape this comparison, Patti Smith, and my
alter-ego heroine Gilly Smyth (from Gong) referred to as the Mother of the men.
Moe, drummer of Velvet Underground, and older than the pack, was a welcome
exception.<o:p></o:p></font></span></span></div>
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<font size="2"><br /></font></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><span style="font-size: 12pt; line-height: 2;">The
confident girls were inspired to pick up instruments and formed punk bands and
girl guitar bands though – such as the still current, Raincoats, out about a
feminist agenda from the start, and author and philosopher Lucy O’Brien’s band
The Catholic Girls. Lucy went on to join the NME team. (FACT FANS: more
recently, Lucy hosted two in-conversation shows with Celeste Bell, Poly
Styrene’s daughter, </span><i style="font-size: 12pt; line-height: 2;">The Poly Styrene Story</i><span style="font-size: 12pt; line-height: 2;">.) There was all-girl gang
supporting The Clash called The Slits, who really showed us something entirely
new. Both these punk bands were for dancing, The Slits using a dub backbone to
their punk, and signed to Chris Blackwell’s Jamaican Island label, at the time
one of the largest independent labels, and starting to make a move on the UK
music scene. The band Mudhoney used the idea from The Slits debut album image </span><i style="font-size: 12pt; line-height: 2;">Cut
</i><span style="font-size: 12pt; line-height: 2;">(Island 1979), ten years later for the single, </span><i style="font-size: 12pt; line-height: 2;">You Got It (Keep It
Outta My Face) b/w Burn It Clean</i><span style="font-size: 12pt; line-height: 2;"> (SubPop 1989)</span><b style="font-size: 12pt; line-height: 2;">.</b></font></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><b style="font-size: 12pt; line-height: 2;"><br /></b></font></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoDVe4H9hYOQ-3FhXwpfq2zu4xhkcDpuFbqCJhqVO0GcqXqKKPwQPVGHLgTk8-xMtt5an3tWROyk2MDYsXCbvsL4xtT2o9i_SuC6846dqgtgnybqjntq2SReMmswXdiDQ715NCAF7JCC0/s400/the+slits+album+cover.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="397" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoDVe4H9hYOQ-3FhXwpfq2zu4xhkcDpuFbqCJhqVO0GcqXqKKPwQPVGHLgTk8-xMtt5an3tWROyk2MDYsXCbvsL4xtT2o9i_SuC6846dqgtgnybqjntq2SReMmswXdiDQ715NCAF7JCC0/s320/the+slits+album+cover.png" /><img border="0" data-original-height="299" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhHSjThjE2tF_SNQwp1FixjXUlkOg2kWxHPbUVLRick0Gv7DnTprlNkLzuJzkVnFxZbKaPB1mqnfbN0F5OjtZ6tGiQM96znXdtLGw0RzaT7uXXIL0IUKkicOPSmLRay3bCg2NAj7Kwn4/" /></a></div><b style="font-size: 12pt; line-height: 2;"><br /></b></font></span></div>
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<div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Even
nearer to the riot grrrl era, and influential, were the women bassists because
that was one of the few ways in, Tiny Weymouth, Talking Heads, Kim Gordan of
Sonic Youth, Josephine Wiggs of That Perfect Disaster (later of Breeders fame),
Gina Birch (Raincoats).<o:p></o:p></font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">An
alternative rock band, Ut, compared to The Fall by John Peel, were my first
review in the mainstream music press the <i style="line-height: 2;">Melody Maker</i>, November 1989. I
realised my perception of the women-powered band was completely different to
the boy journalists when I read the album review of the band by a colleague.
That night I wrote my own manifesto, just in time for the arrival of the US
girl bands, Lunachicks, L7 and Babes in Toyland and the boy grunge bands, Tad,
Mudhoney, Nirvana.<o:p></o:p></font></span></span></div>
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<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">It Would Be Nice To Know </span></span></b></h3>
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">The early girl bands from the States
- Lunachicks & Babes in Toyland<o:p></o:p></span></span></b></div><div class="MsoNormal" style="line-height: normal;"><b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></b></div><div class="MsoNormal" style="line-height: normal;"><b><span style="font-size: 13.5pt;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpzkUpMbM2J-8r5Gdr5_OH42LxRhq9sYZH4agRt51eeZablxQqcLSVojxFzmlxioykbJScd0EhNxV5xSfHJcukhF_ZZMyD9XL1rnk2Z0OiYzsB9ufxx5Clb5BgWgB2erHQOhVq55V-CJg/s860/Babes+in+Toyland+by+Pat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="860" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpzkUpMbM2J-8r5Gdr5_OH42LxRhq9sYZH4agRt51eeZablxQqcLSVojxFzmlxioykbJScd0EhNxV5xSfHJcukhF_ZZMyD9XL1rnk2Z0OiYzsB9ufxx5Clb5BgWgB2erHQOhVq55V-CJg/w400-h268/Babes+in+Toyland+by+Pat.jpg" width="400" /></a></div><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></b></div>
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<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><br /></span></span></b></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Kat
Bjelland, drummer Lori Barbero and bassist Michelle Leon, (replaced by Maureen
Herman in 1992), Babes in Toyland, were filling out the Brixton Academy in
1990, played Reading 1991. Through the album cover, <i style="line-height: 2;">Fontanelle</i> (Reprise,
1992) and the EP <i style="line-height: 2;">Painless</i> (Reprise, 1993) I learnt about artist Cindy
Sherman because the artwork pays homage.<o:p></o:p></font></span></span></div>
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<div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><br /></span></span></div><div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><div class="separator" style="clear: both; font-size: 12pt; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXqRA4GmGRv5H97VhnSC_4itoAB9ncrKLa66pyHO9pMNQXNInXWugoIJ-FBtxcVSKCHrtrjnPsbcpACgS-jw2fk0oOGX1szKBkUlIurgUR6qG4gg69bAhP_D_fXGlzD2u-CR_fBnNf8s/s1380/Ngaire+Ruth+Babes+in+Toyland+Melody+Maker+review.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1213" data-original-width="1380" height="562" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXqRA4GmGRv5H97VhnSC_4itoAB9ncrKLa66pyHO9pMNQXNInXWugoIJ-FBtxcVSKCHrtrjnPsbcpACgS-jw2fk0oOGX1szKBkUlIurgUR6qG4gg69bAhP_D_fXGlzD2u-CR_fBnNf8s/w640-h562/Ngaire+Ruth+Babes+in+Toyland+Melody+Maker+review.jpg" title="Melody Maker 1993 Ngaire Ruth's own copy" width="640" /></a></div><font size="2">Babes in
Toyland rebellion comes in the form of delightful confusion: an accomplished
hardcore sound from a pre-riot grrrl band who are majority women, women powered
too, an unrelenting force as musicians, performing live in the kind of pretty
flowery dresses made for skipping through sun-kissed cornfields. Vocalist and
guitarist, Kat with her Snow White hair and bright red lipstick is a force.
This is new and preparation for what's to come. It ties in with the current
academic trend to deconstruct fairy tales, as a patriarchal conspiracy, e.g.
they don't want us to go off the path - what happens is Kat Bjelland. Some
tales of the riot grrrl legacy claim that Bikini Kill's Kathleen Hanna admired
and was influenced by Babes in Toyland. Kat joined Crunt in 1993, with husband,
Stuart Gray, another crazy and wonderful Jon Spencer (Blues Explosion) project.<o:p></o:p></font></span></span></div>
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<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMPTJTdQdYcQCaZYOHw1378I8o2hAszuJ3WHtNKZv81pKKGFPehqYvtQH7g0BfMTKEQ-3LLwPDjKccD9sYBuGVxd7r7EogMzNz8iZDpqlNREDma61CcdaDNv4p9TAP3QU7vE5iE13_zQ8/s480/Luna+Chicks+babysitters+on+acid+record.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMPTJTdQdYcQCaZYOHw1378I8o2hAszuJ3WHtNKZv81pKKGFPehqYvtQH7g0BfMTKEQ-3LLwPDjKccD9sYBuGVxd7r7EogMzNz8iZDpqlNREDma61CcdaDNv4p9TAP3QU7vE5iE13_zQ8/s320/Luna+Chicks+babysitters+on+acid+record.jpg" width="320" /></a></div>Gina
Volpe, Theo Kogan, Sydney Silver and Sindi Benezra, New York's Lunachicks,
are also the bomb, musically and as performers, tongue in cheek rather than
angry. With regard to the modelling of cool
girls rocking out, and the success of debut album <i style="line-height: 2;">Babysitters On Acid</i>
(1990, Blast), Lunachicks changed lives for many women who love loud guitars.
Blast records were the baby of Mute records, which came out of punk and
ended up being acquired by EMI records (2002), then returned to an
independent label again (2010), with EMI keeping the archive catalogue. Ouch.<o:p></o:p></font></span></span></div>
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<font size="2"><br /></font></div>
<div class="MsoNormal" style="line-height: 2;">
<b style="line-height: 2;"><span style="font-size: 13.5pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Fact fans <o:p></o:p></font></span></span></b></div>
<div class="MsoNormal" style="line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;"><font size="2">Apparently,
Kat Bjelland and Courtney Love are mates. Or not mates. Which means there's
some element of truth to a real relationship.</font></span></div>
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<font size="2"><br /></font></div>
<div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">There are
references to Babes in Toyland's 'Bruise Violet' being about Courtney. And
Courtney's 'Violet' being about Kat. At least we know that the entire
conversation didn't revolve around their cool boyfriends. (A current film
feminist theory is the <a href="http://bechdeltestfest.com/about/">Bechdel Technique</a>: are there two women on the screen
taking up space, and not talking about men?)<o:p></o:p></font></span></span></div>
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<div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2"><br /></font></span></span></div><div class="MsoNormal" style="line-height: 2;">
<span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><font size="2">Nina
Simone and Anita O'Day, a lesser-known jazz singer and drug addict, used to
score together; friends in a crazy world of shit consequences for both that was
none of their doing. The all-girl band Lunachicks were first introduced to Mute
by Kim Gordan's Sonic Youth, (also with Blast). Crissi Hynde met Joan Jett when
one was beginning their career, and the other thought her life in music was
over because she had given up on herself. Girl love changes everything.</font></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><h2 style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2; text-align: left;"><font face="helvetica" size="4" style="line-height: 2;">Punk boys and riot grrrl </font></h2><p class="MsoNormal" style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2;"><font face="helvetica" size="2" style="line-height: 2;">The boys
found riot grrrl’s feminism easy to relate to because it adopted everything
good about punk, loud, rebellious, and most of all, the do it yourself ethic, a place to belong outside the system in a community using anger as an energy.<o:p></o:p></font></p>
<p class="MsoNormal" style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2;"><span style="font-family: helvetica; font-size: small;">Ian
McKay, (Fugazi, Minor Threat), produced the first Bikini Kill EP, </span><i style="font-family: helvetica; font-size: small; line-height: 2;">Revolution
Girl Style Now!</i><span style="font-family: helvetica; font-size: small;"> (1991, demo format, re-issued by Bikini Kill records, with
unreleased material, 2015). Nation of Ulysses were massive supporters of the
girl bands, as were Nirvana and Mudhoney.</span></p>
<p class="MsoNormal" style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: 2;"><span style="font-family: helvetica; font-size: small;">Even
though both riot grrrl and punk had the drive to make new structures at its
root, the traditional typology of a rock and roll band – in it together, a
gang, shared viewpoints and lifestyle choices – still fit in with riot grrrl
philosophy as it did with the punk movement. Except people didn’t always have
shared backgrounds. This made some elements of riot grrrl utopia difficult on a
day to day basis, as it did in the days of punk.</span></p>
<p class="MsoNormal" style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: normal;"><span style="font-family: "times new roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><font face="helvetica" size="2">Next: 1993 Everything Changes </font><font face="times new roman, serif"><o:p style="font-size: 12pt; font-size: 12pt;"></o:p></font></span></p>
<p class="MsoNormal" style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt; line-height: normal;"><br /></p></span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;">Image sources </span></span></div><div class="MsoNormal" style="line-height: 2;"><span style="font-size: 12pt; line-height: 2;"><span style="font-family: "helvetica neue", arial, helvetica, sans-serif; line-height: 2;"><p class="MsoNormal" style="line-height: normal;"><span style="color: blue; font-family: "times new roman", serif; font-size: 12pt;">Babes in Toyland by Pat Pope <a href="https://walkerart.org/magazine/cindy-sherman-babes-in-toyland-punk-rock">photo:
https://walkerart.org/magazine/cindy-sherman-babes-in-toyland-punk-rock</a></span><span style="font-family: "times new roman", serif; font-size: 12pt;"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal;"><a href="https://heavenlyrecordings.com/">https://heaven</a><a href="https://heavenlyrecordings.com/" style="font-size: 12pt;">lyrecordings.com/</a></p><p class="MsoNormal" style="line-height: normal;"><a href="https://www.discogs.com/label/1002-Too-Pure">https://www.discogs.com/label/1002-Too-Pure</a></p><p class="MsoNormal" style="line-height: normal;"><a href="https://www.discogs.com/label/1768-Wiiija-Records">https://www.discogs.com/label/1768-Wiiija-Records</a></p><p class="MsoNormal" style="line-height: normal;">Main pic and Beef pic, Mick Mercer <a href="http://www.mickmercer.com/">http://www.mickmercer.com/</a></p></span></span></div>
<div class="separator" style="clear: both; text-align: center;"><br /></div>ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-8801594961616308352020-05-23T03:45:00.001-07:002020-06-12T13:49:55.998-07:00What did Riot Grrrl Ever do for us? | Part 2 of 6<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Mx0k49_OtR8MRbOnnjwZlperZMX5dyPg0ZvX7MrYBBu_AC5AqqK7BFB37QytqpUA_Q7V_loW7GDcvXNlZY8bwcQaKqL9ZOrkWgsE9nzs_5nqfKWW8zg_C12V0mPsD2StGf7UWvXN_A8/s1600/ni+leila+hair+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="614" data-original-width="785" height="499" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Mx0k49_OtR8MRbOnnjwZlperZMX5dyPg0ZvX7MrYBBu_AC5AqqK7BFB37QytqpUA_Q7V_loW7GDcvXNlZY8bwcQaKqL9ZOrkWgsE9nzs_5nqfKWW8zg_C12V0mPsD2StGf7UWvXN_A8/s640/ni+leila+hair+.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ngaire Ruth 1991 Pic by Michael Craddock</td></tr>
</tbody></table>
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<h3 style="clear: both; text-align: left;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><br />You need to know</span></h3>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In the
early spring of 1993, Kathleen Hanna, Tobi Vail, Billy Karren, and Kathi Wilcox
- Bikini Kill, arrive in the UK and hang out with Niki Elliot, Jo Johnson,
Karen Hill, Chris Rowley, and Jon Slade - Huggy Bear - and everything changes.<o:p></o:p></span></span><br />
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXNs1dtqW2TYeIF3ArjYEyBsaUuaRnXnASWChmcrEbfT3gvq_nqleWpW6xURo7Hkhl4NlI71J2iXTJDTqm0rFehvJlSOhjl3iPkBcA4o5bPTLitLOqgXM0H-XzJbQ3wJXvJhULCmb9mF4/s1600/Huggy-Bear-001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="276" data-original-width="460" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXNs1dtqW2TYeIF3ArjYEyBsaUuaRnXnASWChmcrEbfT3gvq_nqleWpW6xURo7Hkhl4NlI71J2iXTJDTqm0rFehvJlSOhjl3iPkBcA4o5bPTLitLOqgXM0H-XzJbQ3wJXvJhULCmb9mF4/s320/Huggy-Bear-001.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The fabulous Huggy Bear link at articles end </td></tr>
</tbody></table>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">From now
on, women in bands do not fuck my head up with their feminist statements that
are completely missed by their boy and some of their girl fans (L7, Lunachicks
and Babes in Toyland). Boys who wanna be Kurt Cobain wear tee-shirts saying:
this is what a feminist looks like.</span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFwRUOE1wcltzz-j1yodbU7VKImg6Oa82Gbtt5fzcDJ0nPBbbamoDdHBDDJcd95R9l-Csxf7yZ6qfwFyhf4k2hWPnJ84gxxUPN1qVAu6YymnWMaryB1qRbXHFfvSBQqy1mkeEP6t8FfWI/s1600/Babes+in+Toyland+by+Pat.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="574" data-original-width="860" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFwRUOE1wcltzz-j1yodbU7VKImg6Oa82Gbtt5fzcDJ0nPBbbamoDdHBDDJcd95R9l-Csxf7yZ6qfwFyhf4k2hWPnJ84gxxUPN1qVAu6YymnWMaryB1qRbXHFfvSBQqy1mkeEP6t8FfWI/s200/Babes+in+Toyland+by+Pat.jpg" style="cursor: move;" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pic Pat Blashill link at article's end </td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhylUn9-50TsOaaaFTaLMPXdxCJG6_Xa-icJ1p0I2eRf3iK46F2bhnyqzUEJIA9nylb-f-UTr7NBZbJx7IG9aS2wFoh4mP1n7KlgCqesSWVPlmsez0dlNByRkHwBMjI3PlzU3Ni3IsRRkU/s1600/Courtney+Love+1993+by+Kevin+Cummins.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="366" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhylUn9-50TsOaaaFTaLMPXdxCJG6_Xa-icJ1p0I2eRf3iK46F2bhnyqzUEJIA9nylb-f-UTr7NBZbJx7IG9aS2wFoh4mP1n7KlgCqesSWVPlmsez0dlNByRkHwBMjI3PlzU3Ni3IsRRkU/s200/Courtney+Love+1993+by+Kevin+Cummins.jpg" width="132" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pic classic NME photographer Kevin Cummins - link at the end of the article</td></tr>
</tbody></table>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 12pt;"><br /></span></i></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 12pt;">Did you
know? Kat Bjeland - Babes in Toyland - and Courtney Love - Hole - were
introduced to music journalists in conversations that started by first
establishing their relationships with cool feminist men, Stuart Gray - frontman
for experimental noiseniks Lubricated Goat - and Nirvana's Kurt Cobain, then
telling us the name of their bands. It’s all so subtle, and really nice people
do it: these women are cool and interesting because their men are cool and
interesting. I have no plans for a musician boyfriend.</span></i><span style="font-size: 12pt;"><o:p></o:p></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 12pt;"></span></i></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 12pt;"></span></i></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">Bikini
Kill, on the other hand, speak for themselves, and it's clear they've got a
feminist agenda which includes encouraging a relationship between bands and
fans, fans, and fans, for celebration, information and the organising of
solutions, starting with: Girls to the Front, not just a safe space for girls
and performers, but a place to bombard girls with information that they need to
know.</span><br />
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></b>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>T<span style="font-size: 13.5pt;">ake
over the means of production in order to create our own meanings</span></b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">Girls to
the Front is all about the girls at the front, yet the effect of having
positive and supportive women at the front of the audience also proved the
'experiment' to offer a wonderful sense of freedom for the performers. Kathleen
Hanna, after all, is probably one of the greatest front people since Johnny
Rotten. It must be aces not having to worry where that photographer is going to
point his lens next - as if we didn't know (see Courtney pic, below and
Kat Bjelland, Babes in Toyland, live review pic, under the title </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">Everything
changes - even my opinion.</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">)</span></div>
<h3 style="line-height: normal;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>You should know </b></span></h3>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">It
connected to current feminist film theory of the era, meaning that the
performers and musicians on stage were less likely to be subjects of the male
gaze, becoming the bearer of meaning, rather than the maker of meaning (Laura
Mulvey, 1974).</span><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt;"><br /></span></b></span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">Feminist
theatre theory went as far as describing it as a spectacle of hysteria for the
clinical gaze of men, referring back to Freud’s study of hysteria. According to
Sara Marcus’, (2010), </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">Girls to the Front</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">, Huggy Bear’s Nikki,
purposefully would not keep still long enough to stay in the frame when being
filmed for music TV programme </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">The Word, </i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">a disaster by all accounts, and
HB's last tango with the mainstream media. That’s applying theory to practice, a favourite habit of my own. </span><br />
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On
another level, applying a women-only space altogether avoided too many mixed
meanings or deflection of meanings. </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">Feminist
theatre theory was already debating the validity of any outcome if the
understanding relied on individual audience members, who bring their own
cultural assumptions (that they think are natural), and will include men. A lot
of feminist theatres were already opting for women-only audiences.</span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“Within a
patriarchal culture, this exclusion may provide the only way certain elements
of women’s experiences can be signified within the collective consciousness of
the audience.” Sue-Ellen Case (1988) <i>Feminism and Theatre</i>. <o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">The
artistic, socio-political and musical conventions and events run under the
banner LaDIYfest emerged from riot grrl and is still a force today all over the
world, a place for women to express, ask, share, laugh, mosh together in a
women-only space. In the UK, </span><a href="https://www.facebook.com/ladiyfestbristol/"><span style="color: blue; font-size: 12pt;">Bristol</span></a><span style="font-size: 12pt;">, </span><a href="https://ladiyfestsheffield.wordpress.com/"><span style="color: blue; font-size: 12pt;">Sheffield</span></a><span style="font-size: 12pt;"> and Leeds are very active.<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><br /></span></span></div>
<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Start
a girls' band or be a girl in a band</span></span></b><br />
<ul type="disc">
</ul>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Kathleen Hanna (1991), <i>Bikini Kill fanzine, A
Colour and Activity Book</i>, sourced <i>Women Make Noise</i> (2012)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Be in an all-girl band or a girl in a band -<o:p></o:p></span></span></div>
<ul type="disc">
<li class="MsoNormal" style="line-height: normal; mso-list: l1 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt; text-align: justify;"><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cuz
it's fun, it's a good way to act out behaviours that are wrongly deemed
'inappropriate', this is a refutation of censorship and body fascism, this
can deny taboos that keep us enslaved i.e. don't talk about sex or rape or
be sensitive or corny, to serve as a role model for other girls, to show
boys others ways of doing things and that we have stuff to say; to discuss
in both literal and artistic ways those issues that are really important
to girls, naming these issues, specifically, validates their importance
and other girls' interest in them, reminds other girls that they aren't
alone; to make fun of thus disrupt the powers that be; it doesn't have to
be this intense dramatic self-righteous thing to affect change. It can be
fun to talk about scary issues.</span></span></li>
</ul>
<ul type="disc">
</ul>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Be nice to know</span></b></h3>
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<b><span style="font-size: 13.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Everything changes</span></span></b></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">UK's
Pussycat Trash, who formed in 1992 soon became significant players in the girl
style revolution, as well as Sister George.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>No gender agenda</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">There was
no gender agenda in riot grrrl. Multiplicity, in opposition to everything
presented as binary, was the idea: don't label people by their choice of
sexuality, colour or class, well-meaning but naive (and giving critics fuel for
the fire with regard to building a sometimes valid argument that riot grrrl was
slipping into forms of white feminism. See Part 3, </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif; font-size: 12pt;">No hierarchy, no rules,
everyone's learning</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">.) There was already a healthy lesbian punk scene, a a community of experienced activists who knew the value of friendship, and their
integration into the riot grrrl scene was very influential. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Jennifer
(another RG who's still an active musician in the current London underground
music scene), sister, Tammi Denitto, and Andy, of Linus, were great flag flyers
of a girl-boy revolution, like Huggy Bear.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"Linus
the band has been a massive influence in many people's lives yet they're
probably the most lo-fi, in terms of attitude, out of all the riot grrrl
bands. Initially, it was the music that was the attraction, the first time I
heard them being on the Linus 7" vinyl EP (Bone Records, 1993). But when I
followed that up by seeing them live what I got was more than a great gig:<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">There are
more girls than boys; girls running the show; girls at the door; girls doing
the PR thing; girls on stage; girls giving fanzines. And they weren’t scary
like the others – by which I mean I wasn’t intimated because they were ready
and I was getting ready, which I often felt. Linus didn’t make me feel like
that. I think they were the great levelers of that period." </span></span><br />
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">See Ngaire
Ruth (2015) <i>GIVE ME 3, Charley Stone, Jennifer Denitto, and Tegan Christmas.</i><o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></i></span></div>
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</div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Other
bands included Heavenly, (Sarah Records) fronted by Amelia, Blood Sausage (two
of Huggy Bear) and numerous friends of RG, like Razorblade Smile, Sleeper,
Cornershop.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I want to
find my own girl band!</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></span><br />
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4tmehe0D9Onk-H7PZfmJIRGcLssU-jaxqRnwkFrNw4DXDSNLmwJ2bNVFjG6X9WwOmn_WRnGpRuQ8kRUZsKURP2Qibsb1n5T_yJwvFDMgnx9AoO6VAQgyPXiSphyphenhyphen6vNmugALOrzvmrykA/s1600/Ngaire+Ruth+revview+MM+Heavenly.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1064" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4tmehe0D9Onk-H7PZfmJIRGcLssU-jaxqRnwkFrNw4DXDSNLmwJ2bNVFjG6X9WwOmn_WRnGpRuQ8kRUZsKURP2Qibsb1n5T_yJwvFDMgnx9AoO6VAQgyPXiSphyphenhyphen6vNmugALOrzvmrykA/s640/Ngaire+Ruth+revview+MM+Heavenly.jpg" width="424" /></a></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>End of part two </b></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Coming next </span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Life before Riot Grrrl: Beef, Toxic Shock Syndrome, Silverfish, Th' Faith Healers, (UK) Lunachicks, Babes in Toyland, L7 (US), the new indie labels, and the legacy of punk for unconventional women artists and musicians. </span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Image sources</span></span><br />
<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Bikini Kill Love graffiti background </span></span><a href="https://bikinikillarchive.wordpress.com/photos/">https://bikinikillarchive.wordpress.com/photos/</a><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Huggy Bear</span> <a href="https://www.theguardian.com/music/musicblog/2009/sep/14/myths-riot-grrrl-cribs-takeover">https://www.theguardian.com/music/musicblog/2009/sep/14/myths-riot-grrrl-cribs-takeover</a></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Babes in Toyland </span></span><a href="http://patblashill.com/index.php/gimme-indie-rock/babes-in-toyland">http://patblashill.com/index.php/gimme-indie-rock/babes-in-toyland</a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Courtney Love</span> <a href="https://vulgariumfragmenta.tumblr.com/post/14018856924/courtneylovedotorg-kevin-cummins-1993">https://vulgariumfragmenta.tumblr.com/post/14018856924/courtneylovedotorg-kevin-cummins-1993</a><br />
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Case,
Sue-Ellen, (1988), <i>Feminism & Theatre</i>, MacMillan: London</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></span></div>
</div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ngaire Ruth (1993, Melody Maker) Heavenly, Nelories, Razorblade Smile, Pussycat Trash, Waccomole </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">S</span><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">arah Records archives
http://sarahrecords.org.uk/heavenly-the-monarch-camden-town-ngaire-ruth-nme/
[accessed May 2020]</span></span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Revolution Girl Style Now, Huggy Bear (re-release 2015) </span></span><a href="https://www.facebook.com/BikiniKillRecords/">https://www.facebook.com/BikiniKillRecords/</a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.youtube.com/watch?v=GUJxSeafmj4">https://www.youtube.com/watch?v=GUJxSeafmj4</a></span><br />
<br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Recommend</span><br />
<a href="https://library.rockhall.com/riot_grrrl">https://library.rockhall.com/riot_grrrl</a></div>
<br />ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-36426142911868299892020-05-22T04:56:00.001-07:002020-06-12T13:50:13.879-07:00What did Riot Grrrl ever do for us? | Part 1 of 6<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMa_nBeb8TXhMfkeZF0IDxwC0Ed8oz_bqMFMktUUZB-10P7o5bqG2xYzn2pZV_Q8eiGFmOZd_qaHHjD3CI8PoWAWBZIokWxF_PFGxxQJtqBuQbOXQtXN6sOpKNd0Rrdfh4A_xVR9i888k/s1600/Ni+1991.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="874" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMa_nBeb8TXhMfkeZF0IDxwC0Ed8oz_bqMFMktUUZB-10P7o5bqG2xYzn2pZV_Q8eiGFmOZd_qaHHjD3CI8PoWAWBZIokWxF_PFGxxQJtqBuQbOXQtXN6sOpKNd0Rrdfh4A_xVR9i888k/s400/Ni+1991.jpg" width="363" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ngaire Ruth - feminist music critic pic1991, NW5</td></tr>
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<b><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">There are three parts to my story of Riot Grrrl, under the sub-titles, You Need to Know, You Should Know, Be Nice to Know. This is Part One. </span></span></b><ul>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 16px;">This series is part of the legacy of women in popular music - and a need to know for all music fans, people in bands, all women in the music industry, whatever their role and function. </span></li>
</ul>
<ul>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 16px;">The series is a valuable resource for music students and up and coming feminist academics. There are reading references and sources for images at the end of each article. </span></li>
</ul>
<ul>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 16px;">It is my story, my closure on the influence of Riot Grrrl in the progression of my own creative, professional agenda, as a feminist music critic, academic, and mentor.</span></li>
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<b><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What am I doing next? </span></span></b></h3>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I'm focusing on archiving, celebrating, deconstructing third-wave feminism in the gendered mainstream music press and rock, indie, and punk prior to Riot Grrrl feminism, specifically my reviews and the artists and bands I championed during the period 1989-1993; many still significant players in the DIY and mainstream indie community. It will be in the form of a book, not on this blog. If that describes you - be it because you were in a boy or girl, or other - please get in touch ngaireruth105@gmail.com </span></span></h2>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">Before the days of full-time contemporary music
schools, there were only summer rock camps. Finally, in the pre-digital 90s,
rock schools for girls arrived, thanks to Riot Grrrl.</span></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFWCbgOfH-t_gFiEGCtiUlzsUSieitvyUa9XcXhaYfL-eV4SBmIxtJsdyMss9aTbGdeSKTPUSPx8AT0KFaGdUuM4ALrJUtLFtgYex5G9je2mJH1o2iNsHSBsz-kzSDOyfbJh-vbzC4GI/s1600/RG+manifesto.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="768" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFWCbgOfH-t_gFiEGCtiUlzsUSieitvyUa9XcXhaYfL-eV4SBmIxtJsdyMss9aTbGdeSKTPUSPx8AT0KFaGdUuM4ALrJUtLFtgYex5G9je2mJH1o2iNsHSBsz-kzSDOyfbJh-vbzC4GI/s400/RG+manifesto.png" width="400" /></a></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">You need to know</span></b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmfPAuCnxlSok1bWCDhFSpt1ksnrE78_ckgQRmJi9VOmoBVMb4gLeP5Qo2WuWBqkXZAsTQxNC6_D0upGsbFVGVejbxuaYAC3l3T52zB3ksYKmwEPYrB2uhcwIDG78PhBUo_4dAsdIptLQ/s1600/RG+girls+to+the+front+notice+archive.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="271" data-original-width="474" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmfPAuCnxlSok1bWCDhFSpt1ksnrE78_ckgQRmJi9VOmoBVMb4gLeP5Qo2WuWBqkXZAsTQxNC6_D0upGsbFVGVejbxuaYAC3l3T52zB3ksYKmwEPYrB2uhcwIDG78PhBUo_4dAsdIptLQ/s320/RG+girls+to+the+front+notice+archive.jpg" width="320" /></a></div>
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<ul>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Riot
Grrrl is the name for a pre-digital 90s feminist movement, which has been a major influence on alternative music, arts, and academia across the world for
boys and girls.</span></span></li>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Riot
Grrrl feminism was an action/reaction in a world where feminist news or opinion
was otherwise described as post-feminist, which was assumed to be a movement
that belonged to a whole different generation.</span></span></li>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The term
is, arguably, incorrectly used as a genre, associated with a style of punk and
grunge.</span></span></li>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In began
in the 90s, Olympia, Washington, US, where there was an emerging scene of fresh
independent bands, notably Nirvana and Bikini Kill, and labels K Records and
Kill Rock Stars, later home to Beth Ditto’s Gossip and the fabulous riot
grrrl's Sleater-Kinney. It wasn’t long before the Olympia crowd melded with the
DC scene, home of Dischord Records, where it continued to grow into a worldwide phenomenon, including in the UK. Watch out for rare vinyl releases under the
mixed moniker DisKord.</span></span></li>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">You don't have to be able to play your instruments</span></span></li>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Riot
Grrrl had at its heart, girl love: support each other in friendship, celebrate
differences and organise, create, collaborate on creative projects, protests,
ideas and events. Out of this came action groups and organisations that survive
to this day, such as LaDIYfest events (the UK and the US), new writing, new
music, a slow steady normalising of girls in rock and indie bands. </span></span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Riot
Grrrl feminism was about creating whatever form of beauty was comfortable for
you, and not having to declare your sexuality or gender (my perspective). The
essential part was don’t wear make and girly clothes because you think that’s
what makes you attractive to other girls and boys. Be a girl. Don’t be a girl,
if you want to be a boy. Fall in love with a girl or a boy, today, tomorrow.
The era was reflected in the mainstream (Blurs, hit track ‘Girls/Boys’).</span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Riot
Grrrl pioneers, Bikini Kill, launched the first Girls To Front (in the mosh
pit/at the gig) campaign as an experiment on the UK tour with Huggy Bear.</span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">It's met
with confusion, aggression, disdain, cynicism, and outright rudeness by boys in
the audience and in bands. Today, women's safety at gigs is STILL A PROBLEM, as
pointed out in the recent article in </span><a href="https://www.theguardian.com/world/2019/apr/08/groping-sexual-harassment-a-big-problem-at-gigs-say-promoters-and-campaigners-sleaford-mods"><span style="color: blue; font-size: 12pt;">The Guardian</span></a><span style="font-size: 12pt;">, even though there are many
organisations and bands out there championing women's safety at concerts, for
example, the excellent music site and promoter, </span><a href="https://getinherears.com/"><span style="color: blue; font-size: 12pt;">Get in Her Ears</span></a><span style="font-size: 12pt;">, </span><a href="https://loudwomen.org/"><span style="color: blue; font-size: 12pt;">The Loud Women</span></a><span style="font-size: 12pt;"> collective and </span><a href="https://sgfw.org.uk/"><span style="color: blue; font-size: 12pt;">Safe
Gigs for Women</span></a><span style="font-size: 12pt;">. (Post
your links and recommendations of similar organisations and groups that support
women's safety at gigs in comments. Go!)</span></span></li>
<li><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Girl
Power is not what the Spice Girls did.</span></span></li>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 1992
Everett True wrote a controversial article in the </span><i style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Melody Maker, Why Women
Can't Rock (</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Reading festival issue). He didn’t blame the women he blamed
the traditions of rock n roll and the music press. Nirvana, who had been sixth
below headliner Iggy Pop on Friday the year before, was now top of the bill on
Sunday, soon to become one of the most legendary Reading performances of all
time. Kurt wore dresses, and talked about women punk bands both as his
contemporaries, and has been inspirational to his art (the Raincoats).</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In the
previous month Jo Johnson, of UK underground Riot grrrl band Huggy Bear, is
photographed with RIOT GRRL written on her knuckles in the Melody Maker. I
really engaged with the Riot Grrrl slogan: this is happening without your
permission. Nice.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On the
day of the festival, to add to the MM festival spread, I walk around the site
with my Walkman asking people about the women artists (on the billing), a low
representation (no change there). “Can women rock?” I ask. It’s hopeless. Even
the girls define the artists from the male viewpoint -<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“Shonen
Knife is crap. They only get away with it because they’re playing up to being
girly. It makes boys feel secure.” Marsha Duvall.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“I
thought P J Harvey was a bloke, she’s so fucking ugly.” Evan Bruce.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“Lunachicks
don’t have to get their tits out on stage to grab our attention. they deserve
their success.” Joanne.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Tears.
We're hardwired to take these things too seriously, that's the nature of the
job.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Heart
already is broken. In an interview with P J Harvey (<i>Siren</i>, 1992), pre
her major signing that spring, and my new favourite artist, she'd said to me:<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“I hate
the word feminist. It can do so much more damage than good. All I want to do is
write honestly, and I’m a woman, so I guess you can’t avoid it.” (1992)<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I write
in my diary: <br />
<i>I’ve seen Huggy Bear five times in a month. Where are they when we need
them? Where’s the revolution? Is anyone else out there a fucking feminist? </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><br />
It’s too bloody weird growing up in the old-skool, male-dominated world of
music, not least because women are described according to a typology, and I’m
expected to like anything created by a woman because I’m one. So many women
rock bands are just shitter versions of the men’s crap bands! I want a new
sound and a new language that challenges my creative writing and critical
thinking skills. I want to avoid generic muso words, like ‘seminal’ and
‘undulating’. I want more feminist men like Mudhoney and Nirvana! I want more
songs like Kat Bjelland’s Bruise Violet and more bands like Babes in Toyland so
that I can shout Liar Liar Liiiiiiiiiii errrrrrrrrrr again in a pack of women,
at a big gig. </i><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On the
14th March 1993 US band, Bikini Kill plays at the ULU, London with Huggy Bear
and Witchy Poo. <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I loved
Bikini Kill’s Kathleen Hanna most of all because she did not say excuse me.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7LtLUXghR88WnlGQTtxxtUphhXsQpijR5i7INwWp4xZUaQaS-ultHi54LdB0vYXqkE3MwuAL5-0qB_E_lnDPTgNSTOS6fBasInFx2Nl-u6UZ3PUrKO26QXMnZYqEHZDWzEQKjwE7OrrE/s1600/RG+excuse+me+poster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="1024" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7LtLUXghR88WnlGQTtxxtUphhXsQpijR5i7INwWp4xZUaQaS-ultHi54LdB0vYXqkE3MwuAL5-0qB_E_lnDPTgNSTOS6fBasInFx2Nl-u6UZ3PUrKO26QXMnZYqEHZDWzEQKjwE7OrrE/s400/RG+excuse+me+poster.png" width="400" /></a></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">She did
not make me feel I needed to be clever or get educated to be able to join in,
and she didn’t care if I bought the records or not (but the debut album <i>Pussy
Whipped</i> sold an estimated 75 000 copies late 1993). She wanted a
revolution, and somehow it sounded possible coming from her. I related to her
hard-hitting lyrics, more so than Babes in Toyland, and more than the UK Riot
Grrrl bands already here who had stolen my heart: Huggy Bear and Linus. But
there were more coming. More fanzines, organisations, events, and changes to the
structure of underground music culture. (See part 2)<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxsAr5tE37A7b3Bg3YaMCM69R47ui8b7v1ZC9Cl_NdaZDWMRcMVHO0TcvnL_W7nKXpIxGmOnPW6WWuC-_Vym5OEUbSroOaSPPSkObcdgQXrcwddxnVjptrIq_9UND2JdL1_edU0Q5LmgA/s1600/RG+overthrow+cockrock+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxsAr5tE37A7b3Bg3YaMCM69R47ui8b7v1ZC9Cl_NdaZDWMRcMVHO0TcvnL_W7nKXpIxGmOnPW6WWuC-_Vym5OEUbSroOaSPPSkObcdgQXrcwddxnVjptrIq_9UND2JdL1_edU0Q5LmgA/s320/RG+overthrow+cockrock+poster.jpg" width="250" /></a></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Be nice to know</span></b></h3>
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<b><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Our language, our problems, our declaration of not
today, tomorrow, or ever again</span></span></b></h3>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Out of
all the early active US grrrl bands – Heavens To Betsy (Corin Tucker, and Tracy
Sawyer). Bikini Kill's contemporaries, writers and musicians, Bratmobile,
(Allison and Molly, originally the women behind the fanzine <i>Girl Germs</i>,
and later Erin), and Kathleen Hanna, Tobi Vail, Billy Silver, and Jo Wilcox were
pioneers of the revolution, reaching out across the States, starting close to
home by American standards, touring and supporting ace bands across the
Washington State (from home in Olympia), and finally moving to Washington DC.
Bikini Girl crossed the Atlantic (1993) and the momentum of Riot Grrrl went at
a pace, hard-wired commitment to an agenda, with joy and skipping.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">They
produced a <i>Bikini Kill</i> fanzine, and flyers, and leaflets which they gave
out to the girls at every show, in case the message was lost through the joy
and noise. Tobi Vail, the BK drummer, ran a fanzine called <i>Jigsaw</i>. (2010,
Sara Marcus). As a singer-songwriter and performer Kathleen was one of the
first to Just Do It, and always was the most powerful communicator in
interviews and panels, and on the stage; a primal scream that grew to fill the
room as the audience joined in. What a fucking relief, pure shared joy, a
mutual fury, a declaration and warning that we/I/her/him/they will not<o:p></o:p></span></span></div>
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<b><span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Keep quiet<br />
Be polite<br />
Listen nicely <br />
Be too embarrassed to call you out<o:p></o:p></span></span></b></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">All
wrapped up in alternative rock swagger and sass.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This
intent/need/right is referenced by Vivien Goldman in <i>Revenge of the She-Punks</i>
(2019) in reference to the women punk bands which she championed, against the
odds, at <i>Sounds</i> and <i>Melody Maker,</i> during the 70s -
recommended for details of the women and the bands, along with the book <i>She
Makes Noise</i> (ed. Julian Downes, 2012).<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 12pt;">"Over and over She-punks shout for their own
space, which translates as agency." </span></i><span style="font-size: 12pt;">Vivien Goldman (2019)<o:p></o:p></span></span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">Challenge (and totally ignore), the traditional
standards of beauty in mainstream culture</span></b></h3>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt;">The new thing about riot grrrl feminism was the freedom to be who you wanted. Don't
wear makeup and girly clothes just because you think that’s what makes you
attractive to other girls and boys.</span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Another
declaration of Riot Grrrl and Bikini Kill, which tallied with the academia of
mainstream third-wave feminism, and could be applied to both creative and
commercial products and images was the question: is the woman a maker of
meaning or the bearer of meaning?<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Riot
Grrrl did not get away without the media and bands like the Spice Girls, “co-opting
their style and language”, (Cherie Turner, 2001). The term Girl Power was,
initially, the title of an issue of a <i>Bikini Kill</i> fanzine. <o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">After an
extensive UK tour, the deal is sealed at a tiny venue, the Sausage Machine, my
local in Hampstead, (where I first reviewed the unsigned P J Harvey), Bikini
Kill with Blood Sausage and Linus as support (3rd April). See the feature
picture.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Everything
changes.<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>End of Part 1 </b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt;">References
and recommended reading</span></b><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">Images
from </span><a href="https://library.rockhall.com/riot_grrrl"><span style="color: blue; font-size: 12pt;">https://library.rockhall.com/riot_grrrl</span></a><span style="font-size: 12pt;"> the Gayle Wald Riot Grrrl
Collection and the Kill Rock Stars Collection file on Bikini Kill and </span><a href="https://bikinikill.com/"><span style="color: blue; font-size: 12pt;">https://bikinikill.com</span></a><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Vivien
Goldman (2019), Revenge of the She Punks, A Feminist Music History from Poly
Styrene to Pussy Riot, University of Texas Press: Austin, p 44.<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cherie
Turner, (2001) <i>The Riot Girl Movement,</i> The Rosen Publishing Group: New
York<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sara
Marcus, (2010) <i>Girls to the Front, The true story of the Riot Grrrl
Revolution,</i> Harper Perennial: London New York Toronto<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sarah
Marsh, (2019) <i>The Guardian, Groping a big problem at gigs say promoters and
campaigners </i>https://www.theguardian.com/world/2019/apr/08/groping-sexual-harassment-a-big-problem-at-gigs-say-promoters-and-campaigners-sleaford-mods
[accessed May 2019]<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 12pt;">Women Who
Make Noise, Girl Bands from Motown to the Modern,</span></i><span style="font-size: 12pt;"> Julia Downes, ed, Supernova
Books: UK<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Check out
<i>The Guardian, The Art and Politics of Riot Grrrl</i>
https://www.theguardian.com/music/gallery/2013/jun/30/punk-music [accessed May
2019]<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt;">Next </span></b><span style="font-size: 12pt;">in part 2<o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Girls to
the front, girl love, more bands and more
revolution now.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Image sources</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">Pic - my own, 1991 </span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">Riot Grrrl manifesto poster </span><a href="https://www.pinterest.co.uk/pin/32158584817392388/">https://www.pinterest.co.uk/pin/32158584817392388/</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Excuse Me poster <a href="https://www.pinterest.co.uk/pin/621637554785092928/">https://www.pinterest.co.uk/pin/621637554785092928/</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Girls to the Front Notice </span></div>
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<a href="https://www.dailykos.com/stories/2020/2/26/1922352/-Girls-To-The-Front"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">https://www.dailykos.com/stories/2020/2/26/1922352/-Girls-To-The-Front</span></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Overthrow Cock Rock poster<a href="http://www.loudwomen.org/"> https://www.loudwomen.org</a></span></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-62779612827509958482017-04-15T11:54:00.000-07:002017-04-15T16:45:19.077-07:00A Song On An Album That Should Have Been A Single<span style="font-size: large;"><b>The Breeders, </b><i>Happiness Is A Warm Gun </i></span><br />
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSL4-EM-Ury4GnX8jNGIcq1rKPu6vfy_TgV-gVu_Xk2tzWUPrxWdv3Y0RZujtiSV32MofOMoWvT7OHY3Hk11pj5vchR6teqxJkNANDrHe2gA1yBAsQNMsbEjukAu0isrvknvmUfrHtvN4/s1600/breeders+b+and+w.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSL4-EM-Ury4GnX8jNGIcq1rKPu6vfy_TgV-gVu_Xk2tzWUPrxWdv3Y0RZujtiSV32MofOMoWvT7OHY3Hk11pj5vchR6teqxJkNANDrHe2gA1yBAsQNMsbEjukAu0isrvknvmUfrHtvN4/s320/breeders+b+and+w.jpeg" width="320" /></a></i></div>
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<span style="font-size: large;">I have two <b>Beatles</b> albums, one being <i>The White Album</i>. In 1992 when Breeders released the band’s debut recording <i>Pod</i>, I recognised the track <i>Happiness Is A Warm Gun</i>, written and composed by John Lennon, immediately, and loved what they’d done do it.</span><br />
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<span style="font-size: large;">The BBC banned the original song for its sexual symbolism. On the other hand, the song is also referred to as metaphor for drug use, specifically heroin. <b>The Breeders</b> version seems to take this interpretation and really gets to the bare bones of the song’s mood: both the glorious melting sensation that comes, as the edge of everything begins to blur (as heroin addicts describe), and the fear, confusion, destructive feelings that motivate addiction. (Heroin addiction was a curse for Kelly Deal of the band, sister of Kim, also known as a significant member of The Pixies.) Even though she was new to playing guitar her understanding of the depth of feeling, showed in the band’s music.</span><br />
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<span style="font-size: large;">It would have been interesting to see whether The Breeders version was acceptable for a 1992 BBC Top Of The Pops. There were a lot of guitar bands on TOTP that year: <b>Manic Street Preachers, The Lemonheads, The Charlatans, The Sugarcubes, The Senseless Things</b>… as a single, it may have just slipped through...</span><br />
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<span style="font-size: large;">On another note <b>Toris Amos’</b> album <i>Strange Little Girls</i> (2001), which featured covers of tracks written by men, interpreted from the woman's viewpoint, also features <i>Happiness Is A Warm Gun.</i> She had to get permission from Yoko Ono to release it. Toris brings the literal image of a ‘smoking gun’ and the idea of a phallic symbol into the frame. She investigated John Lennon’s death as part of the writing process and discovered that Mark Chapman had seen an escort just before he shot John Lennon: A woman out there, forever silenced, being intimate with a killer and having to carry that around with her all her life. The result is very Kate Bush but not in a ‘should be a single’ way.</span><br />
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<br />ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-52583034967885169252016-12-29T08:13:00.001-08:002019-01-11T06:29:24.149-08:00Do I pass the Bechdel test?<div id="articledescriptionouter" style="background-attachment: initial; background-clip: initial; background-image: url("/content/themes/thefword/images/hash_660_d1e1e1.png"); background-origin: initial; background-position: initial; background-repeat: no-repeat; background-size: initial; margin: 0px 0px 1.5em; padding: 1.5em 0px 0px;">
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Reviewing <i>Rogue One</i> from a feminist perspective made me check for the Bechdel test in my own life. </span></h2>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: normal;">After seeing my film review of <i>Rogue One</i> in the <a href="https://www.thefword.org.uk/">F Word</a>, I realised there was no reference to a crucial element in feminist analysis of narrative: did it pass the </span>Bechdal test<span style="font-weight: normal;">? e.g. do women have private conversations, taking the whole screen space, that don't involve men as the key point of discussion in the movie? </span></span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: normal;">I do point out women talk to each other formally, as Senators, both leading and contributing to the decision making of important affairs, but don't extend the analysis. Why didn't I? Is it the case that I still have to dance in the margins to remember who I am? </span></span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: normal;">The TV series <i>Happy Valley</i> </span>(Sally Wainwright, <span style="font-weight: normal;">writer,</span> Sarah Lancashire, <span style="font-weight: normal;">central figure)</span>, <span style="font-weight: normal;">easily passed the Bechdel test. When the second series came out at the beginning of 2016, it became a bench mark for representation of women in media. </span></span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: normal;">For a few months after the series, when watching TV and feeling that my gender was included, realistically, I bothered to check the credits, only to find SW was involved in the writing or directing (in that episode), for example <i>Whitechapel</i>. And I found it easy to teach - as a contracted sessional lecturer - alongside </span>Laura Mulvey<span style="font-weight: normal;"> and </span>Bell Hooks<span style="font-weight: normal;">, for first year undergraduates dipping their toes in media analysis. And therefore instantly making the future of the human race more palatable, probably. </span></span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: normal;">It still makes a difference - to my behaviour - if media represents the world around me e.g. the 52 per cent of the population. In the absence of good telly for the second half of 2016, and being that my dancing in the margins with women of all ages and interests is nowadays infrequent, I seem to be more isolated, being that I swim in the world of the majority most days.</span></span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;">I'm always aware of what is cultural and what is natural in my behaviour and around me - I like to think. But </span><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;">giving myself a once over with the Bechdel test, however, seems to resonate into everything. Constructively for my professional value, and sometimes in dynamic ways on a personal level. </span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;">If you're in a heterosexual relationship, or a mamma, and especially if your men friends call you "one of the boys" would you clear the Bechdel test? </span></h1>
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<span style="font-weight: normal;"><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">As a writer, journalist, friend, mother, teacher, lover am I a living good example of the Bechdel test? </span><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Am I using conversations with my women colleagues and friends to their full potential? </span></span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;">The importance of representation in quantity, in media and in our daily lives, hit home again when I watched the series </span><i style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large; font-weight: normal;"><a href="http://www.bbc.co.uk/programmes/b06cnbbc">Girls Can Code</a></i><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;"> on catch up. Apparently half of video gamers are women but only four per cent work in digital. </span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: normal;">The aim of the project, and programme, was to provide a group of diverse women access to opportunity and information, in order to become digital gurus. The eclectic choice of participants in itself was a</span></span><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;"> glorious statement, e.g. it's hard to say what we want when we're all different. I felt proud it was my eighteen year old daughter who pointed this out immediately. (Earlier on in the evening I had watched her snooze through the Channel 4 News, while I sat in awe and admiration at the professionalism of Cathy Newman and Tzeen Ahmad. In fact, I timed how long it took before a male presenter appeared on screen. Twenty minutes. She was "not bovvered".) </span></h1>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;">In the end, it was being surrounded by women in a variety of jobs, a major focus of the <i>Girls Can Code</i> Series, including the presenters (led by </span><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">Radio 1's Alice Levine</span><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: normal;">), and all the bosses... which seeped in and made the difference. Only one wanted to stay in the digital field, I recall, but all had changed their professional outlook, due to a new found personal confidence. Barely a fella was seen in the mix - the only white male patriarch being the journalist. (Pauses to chuckle knowingly.)</span></h1>
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<span style="font-weight: normal;"><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">The New Year starts with the return of another recommended crime narrative, </span><i style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font-size: large;">No Offence</span></i><span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;">, for a second series (Paul Abbott, writer), featuring three principal women characters (Joanna Scanlan, Elaine Cassidy, and Alexandra Roach). Here's hoping it passes the Bechdel test. More importantly, here's to me staying mindful of the big BT, at all times, right up to the year's end. </span></span></h1>
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Rogue One: Jyn Erso’s Star Wars herstory</h1>
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<span style="background: transparent; display: block; font-size: 1.3em; line-height: 1.5em;">Ngaire Ruth is thrilled about the latest Star Wars instalment, and especially about Jyn Erso, the woman at its heart</span></div>
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<strong><a href="https://www.thefword.org.uk/author/ngaire-ruth/" rel="author" style="background: transparent; color: #335e66;" title="Posts by Ngaire Ruth">Ngaire Ruth</a>, 21 December 2016</strong></div>
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Yes, the protagonist is female, and this time she is not a girl, as in last year’s <em>The Force Awakens</em>, but a grown-up woman. That particular heroine (Rey played by Daisy Ridley) was a game changer for the franchise, but <em>Rogue One</em> pushes the envelop further, giving top billing to the character Jyn Erso, played by Felicity Jones, who finds purpose in joining the Resistance and leading the quest to victory in this spectacular.</div>
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<em>Rogue One</em> is promoted as a stand-alone movie in the series but it is, in fact, the prologue to the very first <em>Star Wars</em>, released in 1977: a factor which makes for a canny twist to its ending. The film serves as a bridge between the 2005 <em>Revenge Of The Sith</em> (Episode III) and that first groundbreaking release (Episode IV).</div>
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It’s radical and overdue for a company like Disney, with its reputation for basic female stereotypes wearing gender-specific colour-coded outfits that you can’t run in (you’d definitely lose a shoe), to produce characters such as Rey, Maz Kanata (the female Yoda in <em>The Force Awakens</em>) and Jyn. According to the introductory speaker at the UK media London preview I attended, Disney is on a journey and they thank us for being part of it.</div>
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<q>In the final battle, the Resistance pilots are equal-ish proportion women to men; camaraderie and mutual goals are the glue in these relationships, never romance</q></div>
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But it’s good to be cautious. It’s only now the mainstream film industry has caught on to the fact that women protagonists sell, a factor that ensured fair pay for the relatively unknown Felicity Jones, for which she has publicly thanked trailblazers Jennifer Lawrence and Patricia Arquette. And look at the promotional image: the enormous face of Jyn, gazing passively into the distance, surrounded by a squad of men, with weapons, ready for action, with Cassian Andor (played by Diego Luna), Jyn’s closest ally in the journey, fulfilling the role played by Han Solo, complete with non-human sidekick, the android K-2SO.</div>
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It suggests a narrative based around well-developed characters of heroic men and one stereotypical super-smart, driven woman who has been let into the sacred men’s clan, and reflecting the real life scenario of the woman who ‘made it’, and can’t hear all the other women shouting to be let in. Will it end in romance? Thankfully, no. How refreshing for Felicity Jones to be able to play a character for who romantic relations couldn’t be further from her mind.</div>
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<img alt="" class="aligncenter size-large wp-image-18004" height="440" sizes="(max-width: 660px) 100vw, 660px" src="https://www.thefword.org.uk/content/uploads/2016/12/AN1-151239_R-660x440.jpg" srcset="https://www.thefword.org.uk/content/uploads/2016/12/AN1-151239_R.jpg 660w, https://www.thefword.org.uk/content/uploads/2016/12/AN1-151239_R-300x200.jpg 300w" style="display: block; float: none; margin: 0px auto 1em; text-align: center;" width="660" /></div>
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This may be a space fantasy with a simple plot, but <em>Rogue One</em> has a more authentic representation of women on the screen, beyond the main characters. Their screen time is brief, unlike Jyn’s feisty squad, but mostly because it’s all about space horizons, space ships, space aliens, outfits and battles in space. In the final battle, the Resistance pilots are equal-ish proportion women to men; camaraderie and mutual goals are the glue in these relationships, never romance.</div>
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Around the counsel table of the Resistance, Sharon Duncan-Brewster as Senator Pamlo, a counsel member, opens the scene and the discussion. The leading Senator, and final decision-maker, is also a woman, Mon Mothma (Genevieve O’Reilly). Jyn gets the opportunity to make two rousing speeches to boot – in make-up free face and non-hairstyle that rings true for a displaced woman who lives so dangerously.</div>
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<q>How can female characters relate to the historical context of the imagined saga, when previous films have habitually marginalised its women characters?</q></div>
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Director Gareth Edwards and his team don’t miss a thing: even down to the dirt under the nails of Jyn, as she holds her dying father’s head in her hands after a drawn out, wholesale destruction of the Imperial base, when a small group of the Resistance break orders to join her in stealing blueprints for the lethal weapon that destroys whole planets, the Death Star.</div>
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“We didn’t want to sexualize Jyn… We don’t even see Jyn’s arms!” Felicity Jones<a href="http://www.etonline.com/movies/203866_felicity_jones_opens_up_about_feminism_pay_equality_and_star_wars_rogue_one/" style="background: transparent; color: #335e66;" target="_blank">told <em>Glamour</em> magazine</a>. “She’s a survivor, and she has a mission to complete.” Jyn’s backstory, a proper herstory, is pivotal to the plot, most specifically an event in her childhood. It’s the film’s opening scene, but the adventure really begins 15 years later, making sense of all that has gone before.</div>
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It’s an interesting feminist pointer. How can female characters relate to the historical context of the imagined saga, when previous films, bar the last, have habitually marginalised its women characters? <em>Rogue One</em> gets closer to answering those questions. One day Lyn’s young life is shattered when the evil Orson Krennic (Ben Mendelsohn) arrives to take her father, under duress, to work as a scientist for the Imperial forces.</div>
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“Whatever I do, I do to protect you,” whispers her father as he waves her off into the deserted terrain to fend for herself as the intruders loom closer to the family dwelling. But not before she sees her own mother, Lyra, emerge from behind a sand dune to gun down the intruders, and get shot and killed in doing so.</div>
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“I love you too, Papa.”</div>
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“You know where to go don’t you? Trust The Force.”</div>
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Let’s not get too excited. There’s still the predictable subtext, that a woman can only be motivator and maker of meaning when defined by a man who bequeaths her to do so. More than once there’s reference to her being the daughter of Galen (Mads Mikkelson). He is seen as traitor to the Resistance, because he helped build the Death Star, but also as the saviour, with the script referring to him sacrificing himself for the cause.</div>
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He includes a hidden weakness in the Death Star’s design which will destroy it and convinces a disillusioned pilot (played by Riz Ahmed) to betray the Imperial forces and defect to the Resistance outpost, carrying a message in hologram form. It’s one of the many nods to the first <em>Star Wars</em> movie, along with the sight of droids C-3PO and R2-D2 as observers in a passing landscape, and the reappearance of Darth Vader, seen near the end for a fleeting killing spree or ten. Inevitably, circumstances lead to Jyn becoming the receiver of this message, and the pilot joins her mission to convince the Resistance to help.</div>
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<em>Rogue One</em> is the most thrilling chapter of the saga since <em>The Empire Strikes Back</em>. Never mind the mind-bending settings of starlit nights, floating planets and trashed landscapes, nor K-2SO, voiced by Alan Tudyk (<em>Wreck-It Ralph</em>, <em>Frozen</em>), with a speciality in witty backchat and a social skills problem, which will endear young and old. The Christmas treat is fun and exciting thanks to the character of Jyn, the believable yet reluctant heroine.</div>
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<em>All images © 2016 Lucasfilm Ltd. All Rights Reserved. Photo: Jonathan Olley (1 and 2) and Giles Keyte (3)</em></div>
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<em>Image description:<br />1. A young white woman (Rogue One character Jyn Erso, played by Felicity Jones) is looking off camera to the left, standing in the long tunnel with black walls and neon lights on them. She’s wearing a black uniform and has a long weapon in her backpack.<br />2. A young white woman (Rogue One character Jyn Erso, played by Felicity Jones) and a black droid K-2SO are standing against a concrete wall. A woman is wearing black clothes and it seems her hands are handcuffed.<br />3. A young white woman (Rogue One character Jyn Erso, played by Felicity Jones) is standing with her legs apart, wielding a black automatic rifle, wearing a black uniform and a black coat. She’s against orange-purple background which may be the reflection of fire. Her clothes, including a hat and black goggles on her head, seem wet, and it seems to be raining.</em></div>
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Ngaire Ruth used to write for the music weekly Melody Maker and more recently worked as live editor at <a href="http://www.thegirlsare.com/" style="background: transparent; color: #335e66;">www.thegirlsare.com</a>. She writes reviews, opinions and essays with a feminist agenda, relating to her interests in music and film and with a view to championing women in the creative arts. She vaguely keeps a<a href="http://ngaireruth.blogspot.co.uk/" style="background: transparent; color: #335e66;">blog</a>, as well as writes poems and short stories, which she sometimes performs, and teaches market analysis, feminist and music theory at the UCA. Find her on Twitter @NgaireRuth</div>
ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-72662336844693521732016-10-17T12:54:00.003-07:002017-04-15T16:55:51.177-07:00Gilli Smyth | The original Riot Grrrl <div class="" style="clear: both; text-align: center;">
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<b>Obituary</b></h2>
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<b>Gilli Smyth</b> was a poet, performer and teacher, and the co-founder of avant-garde psychedelic assemble <b>Gong</b> (1968-69), with <b>Daevid Allen</b>, formerly of eclectic <b>Soft Machine</b>.<br />
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She met Allen in Paris where she was teaching at the Sorbonne. The pair, united by political motivations, performed a guerilla gig at the 1968 student riots, which led to them having to flee the city, and the setting up of the Gong community: musicians, artists, poets, writers.<br />
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How bloody exciting: teacher life suddenly turns into not having to get up first thing in the morning, politics, passion, music and word jams, with hot guys and girls.<br />
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At the time my record collector boyfriend played me Gong, in the ‘90s, I had just reviewed a <b>Sylvia Juncosa</b> album for the <i>Melody Maker,</i> a woman who received credibility due to her aggressive, heavy guitar playing. Really she couldn’t compete, for me, alongside other current bands of power, like <b>Swans</b>, the <b>Young Gods</b>, but I probably liked the album by nature that it was a woman artist, not just a front woman. (That week <b>Transvision Vamp</b> were the big feature, but the whole page images focused on vocalist Wendy James). <br />
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I knew full well that Allen had shouted “Just Do It!” long before punk and was cool, if whacky, but on listening to the <i>Flying Teapot</i> album I quickly grew impatient with his wizardly whisperings, not to mention the synthesizer sounded outdated to my post rave culture. Then Gilli Smyth’s voice melted into the mix…<br />
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<i>Not often lonely </i><br />
<i>As you see</i><br />
<i>I’m a cat with a flat cap</i><br />
<i>Be careful or I might scratch you</i><br />
<i>Or turn into a witch and fly away on my broomstick</i><b> </b><br />
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Witch's Song - I Am Your Pussy, 1973, Gong<br />
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<b>Mother Gong</b>, they eventually called her, a title she used to release albums of her own after leaving the group (as Allen also did eventually), after 1974. In the absence of any mother of my own (since the day of my seventh birthday), I adopted her, in my head, as my elder woman role model.<br />
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By setting out to trace her written word <i>Nitrogen Dreams Of A Wild Girl </i>(1966), I discovered a fanzine and art sub culture that was pre punk, and this in turn gave me an insight into the history of the underground press, such as Oz. <br />
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Gilli Smyth became my secret weapon and I would play her before stomping out on to the concrete streets, in my black DM’s with bright pink laces, baggy band tee shirt and striped tight jeans, heading to the Bull & Gate, Falcon or Sausage Machine for some slacker grunge at a DIY venue.<br />
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Sometimes it was fucking weird growing up in the old skool male dominated world of music, not least because women were described according to a typology, and I was expected to like anything by a woman, because I was a woman. I wanted a new sound and a new language that would challenge my creative writing and critical thinking skills. I wanted to avoid generic muso words, like seminal and undulating.<br />
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When Gilli Smyth sang sometimes it almost sounded like it was in a different tongue, but nonetheless it was one that I recognized in the pit of my stomach. Aside from this curiosity, there was also humour and playfulness, something that was still missing in most women’s music of the time. (Younger women artists were emerging into the ‘90s decade, and in the “I’m angry and that’s OK “ phase, but Gilli was already on to sarcasm.)<br />
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Her poetry was absurd, woven into the tapestry of a Gong mythology created by communal living and too much LSD, but in fact there was deep meaning and bite in her words and performance. Often she would play up to the generic 'type' as witch, girlfriend, whore, with irony and flair. She poked at every subliminal notion of femininity there was, and stayed friends and lovers with the hip guys (like Harry Williamson, her partner after Allen, Robert Wyatt, Robert Calvert). If only the boy's music could have kept up with her, in terms of being timely and forward thinking. (See "Robot Woman", below.) Sometimes she took on the character Shakti Yoni, originally created for the Gong album, <i>Caembert Electrique</i> (1971). I was promised I would get stoned just by listening to it.<br />
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I still want to be Gilli Smyth when I grow up e.g. live a full, emotionally adventurous life, working in the creative arts, loving learning, and the human race, to a ripe old age. I’ve cried. I’ve pined. She is omnipresent in my thoughts, and I thought she’d never die.<br />
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<i>Yoni…Yoni… Where are you? Yoni…</i><br />
<i>She flies out of the sky with a great swoosh of wings and a flapping of feathers swirling by. </i><br />
<i>Dissolving dream destroyers who stamp like mice in jackboots on imaginative schemes. </i><br />
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<i>But dreams come through like lighted train windows in the night and the wind whirling in the trees. </i><br />
<i>Reality thieves shout fear and doubt.</i><br />
<i>O it's a nightmare nightmare… Sailing in the sky with yoni on high… Yoni…</i><br />
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<br />ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-636331942566527422016-06-30T14:38:00.000-07:002016-07-04T05:33:37.627-07:00That's What She Said | Barbara Nadel, Sophia Walker, Ngaire Ruth<div class="separator" style="clear: both; text-align: center;">
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That's What She Said @ The Book Club, London<br />
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Taking part in a billing of spoken word at <b><a href="http://forbookssake.net/">For Book's Sake</a></b> monthly event, <b>That’s What She Said</b>,<b> </b>is altogether different to reviewing a music gig. I always attach myself to other people's hopes and enthusiasm, now I was partly responsible for providing said quality emotions.<br />
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Things are so strange right now host, <b>Paul Forster</b>, has been instructed to remind the audience that this is a safe space.<br />
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<b>Barbara Nadel’s</b> spoken word was in effect her relaxed, and probably many times told story behind the trigger for becoming a crime writer, over 25 good reads at the last count (Quercus Publishing). She was a professional working in a mental health institution, and her words tonight put many things in perspective for this already intelligent and mindful audience; both interesting and unsettling. She started and ended with this nugget, about her beginnings as a writer, in a perfect round-about way with spooky punch line, which now resonates like a good story ending: When someone hears the tale of a gruesome murder and says “They must have been mad to do it." It’s not true. They’re more likely to have been sane. <b>@BarbaraNadel</b><br />
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Take 2. <b>Sophia Walker </b>has the amble and image of Kate Tempest.<br />
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She’s already taking the personal into the political realm, using a dancing combo of joy and anger, something that means she can’t keep still, even though currently lame. It’s proper poet stuff: to have new material written based on current events that have both horrified and touched the world. Orlando is Sophie’s opening theme, the piece still on her phone. She apologises for being unprofessional but in this case, I think it’s honourable – spouting her mouth off about things she’s working out for herself, right there on the stage, always lyrical and looking right at us. This includes her panic about the Labour part split, increased racism, and the whole world’s predictable, yet now more terrifying, impatience with anybody different. If that isn’t enough, she seems to have a lifetime of experiences to share as well: Is she immortal? The background stories to her poetry are mind blowing, because she has worked all over the world in war torn countries. Apparently, when a revolver is pointed into your back, your first thought will be: Wow. That’s warm. <b>@PoetWalker</b><br />
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I like to think I’m real, even though I'm a music critic. In the words of Lisa Simpson: It’s hard work being this fickle. I’ve worked as a lollipop lady, a cleaner, a full time classroom teacher, Lives Editor at the girls are, now teaching undergraduates. I’ve paid to get in to gigs. Helped put a psychopath in prison. Raised a confident, funny young woman. I can tell you what I wrote last week – <i>Fire, Feminism and Fun, Morning Star, 22nd June</i> – but anything for which I’m better known, such as seeing through the 90s at <i>Melody Maker </i>music paper, is a glorious blur. Am I a better writer today? Sure. What am I doing? Having an excellent time dining out on my music journalism days, flexing my performance muscles and indulging in my love of the human race. Back in the Big Smoke.<br />
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This came from the opportunity to contribute to <b><a href="http://rejectedunknown.tumblr.com/">Rejected Unknown’s</a></b><i> 101 Albums To Die Before You Hear</i>, an idea and collective put together by the infamous <b>Everett True</b>, former <i>Melody Maker </i>Live Editor. I got the brief from the writer <b>Lucy Cage</b>: What classic albums don’t you like? Why not? No negative rants, at least without flair and facts. Delicious! I wanted to submit things that had previously been “in the trunk”, written with nowhere to go. In the end it was childhood memories of pop music and the rise of the transistor radio, triggered by my pondering over the word 'authenticity', that produced the piece I'm most proud of, and finally shared tonight, <i>Hot Hits Vol. 2</i>.<br />
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What I have discovered recently, when reading my writing aloud – which is thanks to <i>101 Albums To Die Before Your Hear</i> and having a reason to be there - is my sense of humour, or timing, and the joy of performing. It's alot of fun kicking a dead man when he's down; and the sub-text to my complaint is not bad either (Frank Zappa, <i>The Mothers Of Invention, 1973). </i>I have found my voice. (Fifty-five, ladies and gentleman.) It's perfectly OK to stop and enjoy this important personal milestone, but really, I wouldn’t have expected other people to be so willing to join in. <b>@NgaireRuth</b><br />
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-7846652003774955402016-06-22T04:45:00.000-07:002016-06-22T04:48:27.432-07:00Fiery, feminist and fun | Loud Women report <span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.32px;"><br /></span>
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<span style="background-color: black; color: orange; font-size: large;"><span style="font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;">My article on the rise of Loud Women events in The Morning Star <a href="https://www.morningstaronline.co.uk/a-54d0-Fiery,-feminist,%E2%80%A6"> https://www.morningstaronline.co.uk/a-54d0-Fiery,-feminist,…</a></span><span style="font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"><br /></span></span></h2>
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<span style="background-color: black; color: orange; font-size: large;"><span style="font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;">Great shot from </span><a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=121671294519282" href="https://www.facebook.com/keiraaneephotography/" style="cursor: pointer; font-family: helvetica, arial, sans-serif; line-height: 19.32px; text-decoration: none;">Keira-Anee Photography</a><span style="font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"> of </span><a aria-describedby="js_1h" aria-haspopup="true" aria-owns="js_1g" class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=1630575037225778" href="https://www.facebook.com/fightmilkisaband/" id="js_1i" style="cursor: pointer; font-family: helvetica, arial, sans-serif; line-height: 19.32px; text-decoration: none;">Fightmilk</a><span style="font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"> and The Moon Cubs at </span><a class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=1557604644501739" href="https://www.facebook.com/vegbarbrixton/" style="cursor: pointer; font-family: helvetica, arial, sans-serif; line-height: 19.32px; text-decoration: none;">Veg Bar</a><span style="font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"> gig - grab a copy of today's </span><a aria-describedby="js_1f" aria-haspopup="true" aria-owns="js_1e" class="profileLink" data-hovercard="/ajax/hovercard/page.php?id=351763554897760" href="https://www.facebook.com/The-Morning-Star-351763554897760/" id="js_1d" style="cursor: pointer; font-family: helvetica, arial, sans-serif; line-height: 19.32px; text-decoration: none;">The Morning Star</a></span></h2>
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<br />ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-80318561790445950812016-06-14T07:12:00.001-07:002016-06-15T05:57:16.316-07:00Performance pics @ Loud Women June 2016 <br class="Apple-interchange-newline" />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small; font-weight: normal; line-height: 24.64px;">Performed one of my contribution's to this newly published book last weekend </span></span></h2>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small; font-weight: normal; line-height: 24.64px;">@ Loud Women. </span></span></h2>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Photographs courtesy of Keira Anee 2016 </span></div>
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<span style="color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What someone said</span></div>
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<em><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"101 Albums… is beautifully illustrated throughout with sharply witty takes on classic album covers by celebrated French artist Vincent Vanoli.</span></em></div>
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<em><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Masterminded and edited by notorious music critic Everett True, the book is a must-have for anyone interested in writing about music as well as those provoked by uncritical, uninspiring praise for the same old rock suspects. Among the victims/subjects of the chapters are Radiohead, Flaming Lips, The Doors, The Fall, Kate Bush, The Police, The Smiths and Frank Zappa. Prepare to have your sacred cows slaughtered.</span></em></div>
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<em><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Rejected Unknown is a community-based, not-for-profit company and will be ploughing any income from the sale of 101 Albums… into future projects, including the publication of Everett True’s Electrical Storm series. It operates as a consciously gender-equal space, so that non-male writers are sought out and given space to express their point of view."</span></em></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">-- Beautiful Freaks, May 27, 2016</span></b></div>
ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-18397101858200699772016-06-14T04:45:00.000-07:002016-06-30T15:15:25.600-07:00When is a band not a band? | Good Sad Happy Bad Interview (formerly Micachu And the Shapes) <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbZqHuBgktTS-SPnVtAYnWN-cL4ZThYjE87RKbxQtDKzdwNC0JPFiHUz_NjDzjPINyp08ppHe4V7RjMld3C7U1xQH10-_3Ry46gWgidylNsn3CIUeJvS2JxEX3dH7eVVy9MxT1LdbzZKA/s1600/James+Drew+Turner+TGa+MATS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbZqHuBgktTS-SPnVtAYnWN-cL4ZThYjE87RKbxQtDKzdwNC0JPFiHUz_NjDzjPINyp08ppHe4V7RjMld3C7U1xQH10-_3Ry46gWgidylNsn3CIUeJvS2JxEX3dH7eVVy9MxT1LdbzZKA/s400/James+Drew+Turner+TGa+MATS.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Good Sad Happy Bad <br />
Photograph by James Drew Turner for the girls are</td></tr>
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<span style="background-color: #444444; color: orange; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><span style="line-height: 22.4px;">Not only has the role of the music journalist changed over the years but the typology of bands too; "being in a band" is taking on new meanings. It's contrary to and contrary about boys or girls and boys together in a gang, with one aim to climb that ladder to the top - all so phallocentric. </span><span style="line-height: 22.4px;">Here's a link to my recent interview for the girls are with Good Sad Happy Bad, formerly Micachu And The Shapes, who talk about their constantly evolving relationship, and in the end, even band name. </span></span></h2>
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<span style="background-color: #444444;"><span style="color: white;"><a href="http://www.thegirlsare.com/2016/04/10/interview-good-sad-happy-bad/">Ngaire Ruth TGA Good Sad Happy Bad interview </a></span></span></h2>
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<span style="color: #cccccc; font-family: "helvetica neue"; font-size: large;">Three
influences from three women influential in underground music 1990-current + exclusive news and a lot of whittering about Melody Maker, Linus, Frantic Spiders, Lida Husik and novelist Martin Millar. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0pcDGc5s8Kw2wKpWXypN8tSygkcNDVlUDd-5u3IPLSc1fE3Ze9o3RewPahzDYiOw8Njo9XJChv7EYATm3mUNmzriwzxB9OpdvDOnhiAIEn-wfb-BNsjSSvmdl7bhnkQMEFbIH0gwZRhY/s1600/charley+stone.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0pcDGc5s8Kw2wKpWXypN8tSygkcNDVlUDd-5u3IPLSc1fE3Ze9o3RewPahzDYiOw8Njo9XJChv7EYATm3mUNmzriwzxB9OpdvDOnhiAIEn-wfb-BNsjSSvmdl7bhnkQMEFbIH0gwZRhY/s200/charley+stone.jpeg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charley Stone </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglC0WenzhCBABgejYCZ3ZPzsmFbCvJ5lMmP4UYlCK9zivXyOzFkQdKNROhH691anwQ1rC-wpkZ-3OQL51R74bdOaX5vKX6V9hbRl5G9MvVlVx3gGNP-HQYklAiQHgyALsvswC7f-qKZxY/s1600/jennifer+denitto.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglC0WenzhCBABgejYCZ3ZPzsmFbCvJ5lMmP4UYlCK9zivXyOzFkQdKNROhH691anwQ1rC-wpkZ-3OQL51R74bdOaX5vKX6V9hbRl5G9MvVlVx3gGNP-HQYklAiQHgyALsvswC7f-qKZxY/s200/jennifer+denitto.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jennifer Denitto</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi3Qew4JEFUgtt3lBlkXIEXMjhpdNZVAYnCq7rMqoBBOto7k24aC_SDU5PZNJ1C5jpQczflbitZnU8lI2wY7icx2Y0HTfD-useTQb9estmofdWmj3uC5YzE8ENA1y0zU7zhJdAd2jKGP0/s1600/tegan+and+elie+and+the+new+album+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi3Qew4JEFUgtt3lBlkXIEXMjhpdNZVAYnCq7rMqoBBOto7k24aC_SDU5PZNJ1C5jpQczflbitZnU8lI2wY7icx2Y0HTfD-useTQb9estmofdWmj3uC5YzE8ENA1y0zU7zhJdAd2jKGP0/s200/tegan+and+elie+and+the+new+album+.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tegan with Eli, new album and cakes</td></tr>
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<b style="font-family: 'Helvetica Neue';">We like to hear about what influenced the cool folk. Last week for the app Electronic Sound I talked to Robin Guthrie (Cocteau Twins) about his influences, one being the landscape (August issue). I have also talked to A Guy Called Gerald and more recently ex Moloko vocalist and solo artist Roisin Murphy for the same feature. Murphy talked about the musical scenes and people that have influenced her creative life - to which I relate. It led me to think about the people and musical scenes that have influenced me and then find out what delights they recommend. </b><br />
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<span lang="EN-US" style="font-family: "helvetica neue";"><b><span style="font-size: large;">Maker, Novelist Martin Millar, the Greek play Lysistrata by Aristophones</span></b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">I was
never neutral at the Melody Maker, my ears were always tuned to what was on offer, not in the sense of free beer and tee shirts but in the context of what to read, what music, art and films to try out. I wasn’t building a career I was building my
personality.<span style="mso-spacerun: yes;"> </span>It was joy, freedom
and a lot of what do I think/why do I think that? <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">Bands,
artists, boys and girls, would always wax lyrical about books, art, music in
interviews or at the backstage parties. They can't help themselves. I would literally take notes and
later investigate, making up my own mind and finding that I generally got
something for myself from those passed on by the girls. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">That
said, Carter The Unstoppable Sex Machine, whose silly name hides a deeply
political and ground breaking band for their time, like me, had discovered <i style="mso-bidi-font-style: normal;">Lux The Poet. </i><span style="mso-bidi-font-style: normal;">The book is </span>set during the Brixton 80's Riots and written by <span style="mso-bidi-font-weight: normal;"><a href="http://www.martinmillar.com/">Martin Millar</a></span>, cult writer back then,
now a mainstream seller with Neil Gaiman a fan. We adopted Martin/Martin
adopted us. I went to a lot of gigs with Martin. We talked about writing,
alongside topics like speed freaks, greasy hair, ancient battles, Greek theatre and poetry. He had a life-sized cardboard cut out of Shakespeare in his Brixton flat. <i style="mso-bidi-font-style: normal;">Lysistrata</i> is still my favourite play. (Martin
tells me there is a lot of Greek theatre in his latest book T<i>he Goddess of Buttercups and Daisies</i> and the character Lux apparently, makes an appearance.) It was a fun
litmus test for boyfriends, taking them to a version of <i style="mso-bidi-font-style: normal;">Lysistrata </i>rather than some cool sold out gig, which I suspected
they wanted. The man who became the father of our daughter MAVE, sailed through
a lesbian version, with strap-ons (not him, the actors); able to get how cleverly the Greek theatres liking for giant phallus' as a comedic feature had been turned upside down (especially because Greek theatre did not allow women on the stage or in the theatre). </span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica neue";"><span style="font-size: large;">Linus</span><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica neue";">Linus </span></b><span lang="EN-US" style="font-family: "helvetica neue";">the band have been a massive influence in many people's lives yet they're probably the most lo fi, </span><span lang="EN-US" style="font-family: "helvetica neue";">in terms of attitude, out of all the Riot Grrrl bands. Initially
it was the music that was the attraction, the first time I heard them being
on the Linus 7" vinyl EP (Bone Records, 1993)</span><span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt;">. <span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">But when I followed that up by seeing them live what I
got was more than a great gig:</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt;">There were </span><span lang="EN-US" style="font-family: "helvetica neue";">more girls than boys; girls running the show; girls at the
door; girls doing the PR thing; girls on stage; girls giving fanzines. And they
weren’t scary like the others – by which I mean I wasn’t intimated because they
were ready and I was getting ready, which I often felt. Linus didn’t make me
feel like that. I think they were the great levellers of that period. To get a really good idea of the scene at that
time read <a href="http://www.linusland.co.uk/Andy93.html">Linusland and Andy Roberts’ run down of 1993</a> – makes you dizzy. They played with legends like Bratmobile and UK
faves, Huggy Bear but would also step out with the new kids on the block, like UK Riot Grrrl band Skinned Teen. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "helvetica neue";">Skinned Teen, like Frantic Spiders (see below), were
pure, that is they didn’t come from being in another band or part of any scene
but they were inspired, girls, and up for a revolution, even if they didn’t know it. The story
goes that Layla Gibbon’s *mum took her to a recording of a Bikini Kill video,
being filmed by <a href="https://lucyt.wordpress.com/">Lucy Red Shoes</a>, the artist and film maker and daughter of
feminist lecturer and writer Professor Pat Thane. Kathleen Hanna said to them: are you in a
band? The girls looked at each other and just replied: Yes. Then went home and
wrote a song. </span></i><span lang="EN-US" style="font-family: "helvetica neue";"><i>(You can read Layla Gibbon at <a href="http://maximumrocknroll.com/">MaximumRockNRoll</a> where she is now contributing editor and where she has recruited many more women
writers into the citadel of macho hardcore music.) </i></span><br />
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<span lang="EN-US" style="font-family: "helvetica neue";">Jennifer Denitto was the bass player in Linus but is now also acknowledged as a great drummer. In current band, The <a href="https://www.facebook.com/theWimminsInstitute?fref=ts">WI,</a> she changes instruments. Jen left Linus in 1997, and was replaced temporarily by Charley Stone - who was on the Linus 12" 1998 EP - and permanently by Deb Van Der Geugten (also now in The WI). It seems likely that Charley will work with The WI on their first recordings, in the studio and I see a new era taking shape. (Exclusive!) Cassandra Fox (vocals, bass) and Melissa (vocals/cornet) make up the rest of The WI. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-lX6TaWIXF41GV6ibtHBCM8LYEOTAJGlubZjwdrQIGM4rAV6XCaQAYLO7P4jOzuWPkqrq64J8obaTO5U1VyqOE5KUmYP2jpVvmh_4sxmoZodB9QOUyc_gtpXx0-W0phRDGKqNrcXKfTQ/s1600/wI+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-lX6TaWIXF41GV6ibtHBCM8LYEOTAJGlubZjwdrQIGM4rAV6XCaQAYLO7P4jOzuWPkqrq64J8obaTO5U1VyqOE5KUmYP2jpVvmh_4sxmoZodB9QOUyc_gtpXx0-W0phRDGKqNrcXKfTQ/s400/wI+.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The WI 2015</td></tr>
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<span lang="EN-US" style="font-family: "helvetica neue";">I asked </span><span style="font-family: "helvetica neue";">Jennifer Denitto what were three
of her biggest influences? She came back to me with the answer in minutes.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2H0CkHF0QpBbwY5umPqafaK9P7DOR3HvTetZRqE75GquaPEzU974V5eV2I6A7ZUzyb_BSqy9g8bEfnkNEaoXzStur1mfFMnswDLhGVW36UtbUanEMO5bPTq-g1Ai39otLIHKuBoGU3U8/s1600/angry+women.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2H0CkHF0QpBbwY5umPqafaK9P7DOR3HvTetZRqE75GquaPEzU974V5eV2I6A7ZUzyb_BSqy9g8bEfnkNEaoXzStur1mfFMnswDLhGVW36UtbUanEMO5bPTq-g1Ai39otLIHKuBoGU3U8/s1600/angry+women.png" /></a><b><span lang="EN-US" style="font-family: "helvetica neue"; font-size: large;">Jennifer Denitto (Linus, The <a href="http://Wimmins%20Institute@wimmin/">W1</a>) Top 3: </span></b></div>
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<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US"> <a href="https://www.goodreads.com/book/show/516062.Angry_Women">Angry Women</a></span></i><span lang="EN-US"><a href="https://www.goodreads.com/book/show/516062.Angry_Women"> </a>(Research, 1991) </span><span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">was a
huge influence.</span></b><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><br /></b></span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">The Velvet Underground, both musically and because they had a woman drummer, Moe Tucker. </span></b><br />
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<span style="font-family: "helvetica neue";"><b>Venus In Furs, the Velvet Underground and Nico (Mo set the pace for the track)</b></span><br />
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<span style="font-family: "helvetica neue";"><b>The Dead Kennedys. </b></span><br />
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<span style="font-family: "helvetica neue";"><b>Holiday in Cambodia, The Dead Kennedys </b></span><br />
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<span style="font-family: "helvetica neue";">I was thrilled with JD's input and equally with the brief answers and lack of subjectivity or the gossip (goes red), which to me
follows that thread of Linus being not in your face, except for the music, yet
being so totally active and influential in the background.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica neue";"><span style="font-size: large;">Angry Women, Lida Husik, Melody Maker</span><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">Seek
out <i style="mso-bidi-font-style: normal;">Angry Women</i> if you are ready. This book helped me understand what I was reading (Kathy Acker, Andrea Dworkin) and what
I was watching (Bikini Kill, Babes in Toyland, L7) at the time. It was also something I
hid from my daughter during the crazy years (12-17) because I suspected it
would be misinterpreted and used incorrectly as a champion for
behaviour/actions which were not in the same feminist spirit as the work of
say, Lydia Lunch. Now she is a spoken word artist, unravelling the political
from what is deeply personal, I would gladly loan her the book, but after I
have finished pouring all over it again. I have never met anyone who knew this
book save for <b style="mso-bidi-font-weight: normal;">Lida Husik </b>a Shimmy
Disc artist from the 90s who gave it to me when she came to stay at my place in
London once (from US).</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI82bxb-GwLPddxfCxQgw71wze94otTG4PVMIBjYG7ZA30Um98MbQPHEFJz-ea0M_rGBlrarcPfszK6YRyesGoqWIgnJ6hB4eMba2o-bSLEEyUhyI0nbekeSSfNiu8ga_l_QwmYiCwkl0/s1600/lida+words+.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI82bxb-GwLPddxfCxQgw71wze94otTG4PVMIBjYG7ZA30Um98MbQPHEFJz-ea0M_rGBlrarcPfszK6YRyesGoqWIgnJ6hB4eMba2o-bSLEEyUhyI0nbekeSSfNiu8ga_l_QwmYiCwkl0/s400/lida+words+.jpg" width="400" /></a><span lang="EN-US" style="font-family: "helvetica neue";"><br /></span>
<span lang="EN-US" style="font-family: "helvetica neue";">She wrote inside my book:</span><br />
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<span style="font-family: "helvetica neue";">Her sound is anything but angry, but we needed to be angry to be artists, because that was an energy which beat all the odds, the assumptions, the teasing.</span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";"><b>Lida Husik Whirlybird</b></span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">At the Maker, Tuesday editorial, the day of distribution and its arrival in a bundle at the offices, the day you collected your records and tapes (later CDs - we threw CDs around the office a lot by the way): </span><br />
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<span lang="EN-US" style="font-family: "helvetica neue";"><i>“You talk about her (Lida Husik) all the time. Are you girls…? An item?" </i></span><br />
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<span lang="EN-US" style="font-family: "helvetica neue";">It was standard if I, a woman, was excited about the talents of another woman. Ditto if I enjoyed their company, without a fella in sight. I am bored with boring you about this but it IS significant in the history of women in music and is bound up in the role of women writers in music publishing. The fact is, it was great to have a friend who didn't reply to an invite with: I'll see what my boyfriend is doing. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDGpyXc-wqUMumS5uc4gGIsk_Wd5Lbq7eEsKS9ZhniA1noxda8jodSk2qg2ns7MOvrT2Cqf4MPLtbmvcueRHLobkb3WxbWgjhCVkxkTOGkfnhJkfBVrrxaZCB3TCJrkdyLPsJipqmElg/s1600/ni+and+lida+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLDGpyXc-wqUMumS5uc4gGIsk_Wd5Lbq7eEsKS9ZhniA1noxda8jodSk2qg2ns7MOvrT2Cqf4MPLtbmvcueRHLobkb3WxbWgjhCVkxkTOGkfnhJkfBVrrxaZCB3TCJrkdyLPsJipqmElg/s400/ni+and+lida+.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lida Husik and Ngaire Ruth on the way to Highgate Cemetry</td></tr>
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<span style="font-family: "helvetica neue";"><b><span style="font-size: large;">Frantic Spiders, Toxic Shock Syndrome</span></b></span><br />
<span style="font-family: "helvetica neue";">One
Tuesday at The Maker I got a tape in an envelope from a band called </span><span style="mso-bidi-font-weight: normal;">Toxic Shock Syndrome</span><b style="mso-bidi-font-weight: normal;">.</b><span style="font-family: "helvetica neue";"> We all got around 50 amateur tapes a week
plus white labels from PR’s and record companies, in both tape and vinyl
formats – no CDs at this point. We would have an editorial, then go to the pub
for too long, especially if the PRs had got wind of our local and were buying,
then stumble home on the underground carrying heavy vinyl in thick cardboard
envelopes, and a plastic bag full of tapes rattling, clanging painfully on legs.</span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">The band name was scrawled all over in bright colours, it had been a
channel for pure joy and determination, and in the big bag of tapes it stood
out, like it was exuding light.</span></div>
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<span style="font-family: "helvetica neue";">I
trumpeted loud and long about Frantic Spiders, the band they later became after their brush with Riot Grrrl, who inspired Charley Stone, in particular. I wrote about them in the Maker.</span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">They released the <i>When You're Dead</i> EP in 1993 and everyone started to like the FS.</span><br />
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<span lang="EN-US" style="font-family: "helvetica neue";">Ronnie and Charley were two particularly motivated young women and I was in awe of
them because they were younger than me and yet they had no fear and each other, even when new members came and went and the band split mutating into equally fabulous TThe Frantic Spiders, the support and friendship among them was before their time (this includes Jo Gate Eastley). I knew that they were going to be active in the creative arts for some time, which
was and is very important to me. I knew this because I had fun, fun,
fun when I was with them while at the same time the world always shifted its
axis just a little bit more towards a woman’s world in the process – you felt
it. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "helvetica neue";">As Toxic Shock Syndrome, I performed with them at some Riot Grrrl bash at the Bull & Gate. Well Ronnie said: Put this on. Hold this doll. Kill it when I give you the eye.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ9lI6aVKN4NOP4w35Bsr6Cij5US_pxHbCtfNa7YngmoOBWJw-Mw_gTTviZQ19IXyuVIV4UGNnuxBFyBeiMT1LocrTTxB23awEj2FHOv1rZ-_QDsCg2Xg9WkLJdlwh90vTtNIxSrRCNwY/s1600/toxic+shock+1+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ9lI6aVKN4NOP4w35Bsr6Cij5US_pxHbCtfNa7YngmoOBWJw-Mw_gTTviZQ19IXyuVIV4UGNnuxBFyBeiMT1LocrTTxB23awEj2FHOv1rZ-_QDsCg2Xg9WkLJdlwh90vTtNIxSrRCNwY/s320/toxic+shock+1+.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">TSS with Ngaire Ruth Bull & Gate </td></tr>
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<span style="font-family: "helvetica neue";">I am long overdue to
ask Charley Stone what are three of her book/musical influences? She was also quick with a response and talked about
influential reading in terms of the cultural press, alongside the musical
influences, which again pleases me because it reflects the personality I think
I know, and the reason why that tape in the bag was so impossible to resist,
like a diamond in the rough. And I think it’s funny that they probably sent one
to Taylor Parkes as well, who no doubt ditched it. </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Taylor and I are very nice to each other now at Maker gatherings, but
we hated each other back then.</span></i></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica neue"; font-size: large;">Charley Stone (Frantic Spiders, Spy 51, Gay Dad, Salad, Abba Strikes, Ye Nuns,
Joanne Joanne, Keith Top Of The Pops) Top 3: <o:p></o:p></span></b></div>
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<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> The David Sylvian double album "Gone To Earth" and a David
Sylvian interview in Blitz magazine I think in approximately 1987 where the
interviewer said something I like "I want to tell him that the incurable
romantic is hopeless" and asked him "When will we learn to live life
unhesitantly?" to which David shook his head and smiled and said "I
don't know".</b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><br /></b></span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The Stereolab album "Transient Random Noisebursts (With
Announcements)"; Taylor Parkes (I think) review of the album in Melody
Maker where he began by saying "Culture's lost it" and said something
like "this album will, in time, become important".</b><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><br /></b></span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Throwing Muses, early Throwing Muses / Ablaze! fanzine number 5 (I
think) where Karren wrote about the Muses and Pixies and Sonic Youth and said
"The reason: Fire" and "read Ursula le Guin books" in the
endnotes.</b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbDdlRBc76fSRuMIcOkHy1zhAkw_6STKL18ilSmE9hGNWQCO2BdJFNhtMHx237olD9K7FyPv-dpiLztMy-Xb1VvgmFiSH1PeyGqsPralwUDT5vDBtLth8tbX69H-a9d7btm_CdODif4bw/s1600/ablaze.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbDdlRBc76fSRuMIcOkHy1zhAkw_6STKL18ilSmE9hGNWQCO2BdJFNhtMHx237olD9K7FyPv-dpiLztMy-Xb1VvgmFiSH1PeyGqsPralwUDT5vDBtLth8tbX69H-a9d7btm_CdODif4bw/s320/ablaze.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Go to http://mittenson.com/about-karren-ablaze/</td></tr>
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Society Top 3: </span></span></b></div>
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<span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">I<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> was
introduced to The Ethical Debating Society last year and immediately wanted to
be their friend. Tegan Christmas has awesome vocals and a pure and focused attitude that will not bend to fit in. With singer/writer/guitarist Kris and hardcore punk
drummer Eli they are a force for the future (see Why Do Bands Hate Labels? in this Blog). </span></span><br />
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<span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Then Kris from TEDs introduced me
to Thee Faction, (my political band to replace Carter USM in 2015.)</span></span><br />
<span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-family: "helvetica neue"; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Kris gave me three books recently: <i style="mso-bidi-font-style: normal;">Fyodor Dostoyevsky, Note from Underground and The Double</i> and <i style="mso-bidi-font-style: normal;">The Ragged Trousered Philanthropists</i> by
Robert Tressell, two books which have been an influence, particularly the
latter, on all the good men Left. (Yes, with a capital, double-barrelled meaning.)
It’s also an insight into the history of unions and the working men’s political
parties – and some of my family history is in there, which is an extra. The
third book is a classic, <i style="mso-bidi-font-style: normal;">Silences</i> by
Tillie Olsen, her first non-fiction work, which talks about the things that
obstruct or silence woman’s creativity, and a helpful reminder at the time.<o:p></o:p></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Tegan is both
inspired by Riot Grrrl and slightly intimidated by the academia of it all –
although she understands it and studied the French feminists at university. I’m sure Kathleen Hanna would be horrified to know people felt that they
had to go get a degree to be in the gang but it would not have become a political
movement and genre if the clever girls had not taken it on and got organised. Still,
I relate to Tegan on that. </span><o:p></o:p></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu5AbdtRQZewArJA6b70gbjPv13mqzmEfgZm2tefBdsCAwP4xahA70itg-Sbx70ra-0cQmIzEanMzv_mNlgYfiV3Cyo6XoimX7owM1ptS5Cb27E8NefxNUe9X2xeS9msdXW91vNMvn-Hk/s1600/tegan%2521.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu5AbdtRQZewArJA6b70gbjPv13mqzmEfgZm2tefBdsCAwP4xahA70itg-Sbx70ra-0cQmIzEanMzv_mNlgYfiV3Cyo6XoimX7owM1ptS5Cb27E8NefxNUe9X2xeS9msdXW91vNMvn-Hk/s320/tegan%2521.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tegan calls herself Head of Yelling for TEDs </td></tr>
</tbody></table>
<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Tegan: “Mine would
have to be <i style="mso-bidi-font-style: normal;">The Collector</i>, by <span style="mso-bidi-font-weight: normal;">John Fowles</span>, (if you've never read
this, please do, immediately). <i style="mso-bidi-font-style: normal;">Pussy
Whipped</i> by <span style="mso-bidi-font-weight: normal;">Bikini kill</span>, (heard
it when I was very young, and it did something to me, BIG time) and...Can I say
<span style="mso-bidi-font-weight: normal;">fashion</span>? As in, without being able
to wear the clothes and things I often do, I would feel decidedly less
"me"? In particular, I think, the ethos behind the punk movement,
although that's not necessarily my look, most of the time, but definitely the
politics behind it."</b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><b><br /></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><b>Footnote:</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">So thanks to Martin Millar for seeking out my address in Somerset some years ago and sending me a copy of his latest book at that time, <i>Kalix Curse of the Werewolf Girl,</i> and reminding me I had an identity beyond mum, teacher, cook, cleaner, cashpoint and therefore applying for the position of Live Editor at www.thegirlsare.com </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">So thanks to Lucy Red Shoes mum, Professor Pat Thane, who put her money where her mouth is and gave us solitary safety in her cottage in north London during Christmas 2012, a time of mighty oppression and need of protection (but no family and forgotten). She had just published the book <i>Sinners? Scroungers? Saints? Unmarried Motherhood in Twentieth- Century England. </i>I wouldn't be merrily typing now were it not for that practical intervention. </span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><i><br /></i></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">*I am very particular about calling women by their names and not their role: see Layla Gibbon's mum, but in this instance I know the woman does not look kindly on being mentioned by name and wishes to be anonymous, except to her friends. And I would like to stay one. </span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">It is intentional that only the girls have a voice in this article. Kris and Martin won't mind. </span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;"><br /></span></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 8.5pt;">The WI be part of the <a href="https://www.facebook.com/events/1621576871414753/">We Shall Overcome</a> weekend in October. </span></span></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-82201196899665286022015-07-09T05:10:00.002-07:002015-07-13T11:31:36.906-07:00Roisin Murphy | Clothes, Music, Boyz<i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">I recently talked to former Moloko singer <a href="http://www.roisinmurphyofficial.com/">Roisin Murphy</a> for the Under The Influence feature in the app <a href="http://www.electronicsound.co.uk/">Electronic Sound Magazine</a>, June 2015, Club Edition, </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">to mark the release of ‘Hairless Toys’, her first album for eight years</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">. </span></i><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">In the Under The Influence feature well known artists talk about the influences that have affected their artistic lives - mostly a book is in there, often a person, in the case of Guy Called Gerald the 808 was included. Here is the Roisin Murphy interview in full. The July issue of <a href="http://www.//electronicsound.co.uk/">Electronic Sound</a> is out now. </span><br />
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<span lang="EN-US" style="font-family: "Helvetica Neue";">MANCHESTER</span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";">One of my first influences was all the
incredible gear (vintage 60’s women’s fashion) in my aunt’s attic, back home in
Ireland. She was a beauty queen and married to a well-known musician. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>Another influence when I was little was the film Calamity
Jane, featuring Doris Day and Howard Keel (Warner Bros). I just loved it, loved
seeing this amazing tomboy. I still adore her to this day, also Ginger Rogers
for the same reason: witty boyish girls. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>After that we moved to Manchester, from Ireland. Imagine
living in a small town with one baker and a butcher (no candlestick maker but
you get the picture) where everyone listened to AC/DC and heavy metal, and then
moving to a city like Manchester, where’s the sky the limit? It was hugely
influential. By the time I was 13 or 14 I was going to shows. The first one
that really changed me, and my style of writing, was Sonic Youth. I sat on the
stage for most of the gig and watched them as they picked up Kim Gordon
repeatedly and threw her into the audience. I was open-mouthed: the experience,
the excitement, the music, the vibe between the band, it ALL just blew me way.
Next day I went straight out to the record store with my old U2 records and
exchanged them for “Daydream Nation”. It set me on a path (Jesus And The Mary
Chain, Spacemen 3, The Pixies). I realised that I didn’t have to be in the
mainstream and that was a great liberation for me because I suddenly felt good,
not crap about it. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";">SHEFFIELD</span><br />
<span lang="EN-US" style="font-family: "Helvetica Neue";">Next big influence, of course, was moving
to Sheffield on my own where I ended up starting Moloko with Mark (Brydon) after
that famous chat-up line “Do you like my tight sweater? See how it fits my
body?”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>The club scene was very influential. There was a
feeling of change in the kind of mix of people, not just weirdoes but also kids
that looked like they might have just come off the football terraces. I was too
young to realize it’s connections with Ecstasy and I think that the club scene
is more than just about hedonism. It has aspirational value. Like Northern Soul
is sometimes called the music of the kids of coal miners.<span style="mso-spacerun: yes;"> </span>The fact that you’ve found yourself
here, dancing, means that you are not going to be a cog in that machine
after-all. “You stick me in the machine I’ll break it!” (That’s what I always
think about Mark E Smith, another huge influence but as a lyricist. He was
supposed to go into the factory but he broke the machine. For example, The Fall’s
fifth single, “How I Wrote Elastic Man”, where did that idea come from? He is
so unique.)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>Suddenly, in Sheffield every person you met in a club
was a producer, writer, artist or in a band and it was a real melting pot of
musical tastes. It was truly creative and therefore very influential because
now the boundaries were down. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";">MOLOKO</span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";">My first record with Moloko was never
about launching my career but the beginning of a relationship. Obviously Mark
was totally influential. He taught me a lot about writing songs, about studios
and also about having high expectations. So, when I was writing a song he might
say, “There are too many you’s or me’s in those lines,” or when we were
recording, he would stop me and say, “You didn’t quite get the note right there.”
He taught me to push the levels all the time. To this day I make sure this
resonates in my work: to be experimental and have fun. But… at the time I was
more of the influence there because I was an opinionated cow and he’d just made
a record for acid jazz and was quite downhearted about it that night, because
the record had just been deleted, and I came in and I was like “I fucking hate acid
jazz anyway, it’s stupid.” (Although I can appreciate it these days.) I brought
him back to his experimental roots. <o:p></o:p></span><br />
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<span lang="EN-US" style="font-family: "Helvetica Neue";">GRACE JONES</span><br />
<span lang="EN-US" style="font-family: "Helvetica Neue";">After the success of Moloko I was nervous about
becoming a solo artist, so seeing Grace Jones live was a powerful, good influence.
There were no on-stage explosions, fireworks or crazy lights, just an innate
drama, an understanding of The Show, which so obviously came from her, not some
clever artistic director. She totally inspired me, although I had already
discovered there was a natural performer in me by then, by accident, when Eddie
Stevens, (keyboardist, composer and arranger) and Moloko’s live musical
director came into our lives.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>He was a massive influence because although Mark was a
brilliant producer he was not a natural showman. Eddie spruced all that up and
showed us how we could have tremendous fun, because at first it was really hard
to translate from being a studio band to a live act. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";">MATTHEW HERBERT</span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";">Working with Matthew Herbert on my first
solo album, “Ruby Blue”, was a big influence, both in terms of his method of
working and the attitude, or structure of working and that with discipline,
comes freedom. (I used to sit around for hours waiting for inspiration to come
before that.) This still influences my method of working in the studio today –
perhaps even more expertly for “Hairless Toys”. He doesn’t use sound that’s
created from synthesizers he does it himself. He uses samplers. He would ask me
to bring in objects from my home. He would use the sound of me dancing or the sound
of the rain outside and they ended up sounding like drum beats. It seems a bit
academic. He’s written theses about these things and influenced more artists
and producers than just me, but ultimately his biggest influence was putting me
on a sonic pedestal. He was able to do something with whatever sound I made. He
was just so paternal, warm, funny and sweet. Coming out of Moloko and being pretty
scared about what I was doing he turned out to be the absolute perfect person
to do it with.</span><span lang="EN-US" style="font-family: Georgia; font-size: 29.0pt; mso-bidi-font-family: Georgia;"> <o:p></o:p></span><br />
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<span lang="EN-US" style="font-family: "Helvetica Neue";">PETER COOKE AND DUDLEY MOORE</span><br />
<span lang="EN-US" style="font-family: "Helvetica Neue";">The latest album, “Hairless Toys”, the
follow up to “Overpowered”, has a recurrent theme of flamboyancy and creativity
as a reaction to oppression, and of creating a safe space from the mainstream, particularly
“Gone Fishing”, which is influenced by the documentary film Paris Is Burning,
about the history of house music and black, gay culture.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>Another major influence on the making of this album,
would you believe, is <span style="mso-spacerun: yes;"> </span>“Peter Cook
and Dudley Moore Present Derek and Clive Live”, a favourite thing that also had
an enormous influence on me when I was growing-up. I always wish to have that
level of fun; you couldn’t pick me up off the floor the first time I heard it,
I was laughing so much. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Helvetica Neue";"><span style="mso-spacerun: yes;"> </span>I actually listened to it every day before going into
the studio to work with Eddie (Stevens). Eddie and I have a great comedic
relationship because we’ve known each other for so long through Moloko, we
crack a lot of jokes, but I had never worked on an album with him before.<span style="mso-spacerun: yes;"> </span>I wanted to remember that sense they have
(Cook and Moore) of making it up as they go along. It takes all your defences
down and you’re laughing at things that you shouldn’t be laughing at and you
kind of end up purer. It’s like a cleansing. <o:p></o:p></span></div>
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<span style="font-family: 'Helvetica Neue';">BOOK</span><br />
<span style="font-family: 'Helvetica Neue';">If I had to choose a book that has
influenced me it would be Philip Roth’s Sabbath’s Theatre. The protagonist is a
gruesome character, a dirty old bastard and when I first read this, in my 30s I
was so shocked. I re-read it last year and surprised myself at how my levels of
resistance to shock value, have gone down. It is absolutely brilliant and I
can’t recommend it highly enough.</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">This interview and the </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Roisin Murphy album review of "Hairless Toys" is in last months edition @ <a href="http://www.electronicsound.co.uk/">Electronic Sound </a> or <a href="https://itunes.apple.com/gb/app/electronic-sound-magazine/id628044956?mt=8">i tunes</a> for one off copies or reduced subscriptions. </i></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-58419257898286577092015-07-01T08:18:00.002-07:002015-07-01T08:18:35.634-07:00Lady Lamb | it's a need to know thing <span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Writes like a young Kim Deal, sounds as sweet as the Dum Dum girls. You need to know about Lady Lamb.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"> <br /><i>This piece was originally published in <a href="http://www.thegirlsare.com/2015/06/29/feature-lady-lamb/">the girls are</a>. </i></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i><br /></i></span>
<h2 style="background: rgb(255, 255, 255); border-bottom-color: rgb(0, 0, 0); border-bottom-style: solid; border-top-color: rgb(0, 0, 0); border-top-style: solid; border-width: 0px; box-sizing: border-box; color: #444444; font-weight: normal; line-height: 40px; margin: 0px 0px 20px; padding: 15px 0px 0px; text-transform: uppercase;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-large;"><span style="background-color: white;">FEATURE | LADY LAMB</span></span></h2>
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<a href="http://www.thegirlsare.com/wp-content/uploads/2015/06/LadyLamb_1_byShervinLainez25.jpeg" style="box-sizing: border-box; color: #64425b; text-decoration: none;"><img alt="LadyLamb_1_byShervinLainez25" class="alignnone size-medium wp-image-36733" src="http://www.thegirlsare.com/wp-content/uploads/2015/06/LadyLamb_1_byShervinLainez25-480x524.jpeg" height="524" style="border: 0px; box-sizing: border-box; margin: 5px 20px 20px 0px; vertical-align: middle;" width="480" /></a></div>
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Calling herself <strong style="box-sizing: border-box;">Lady Lamb and the Beekeeper</strong> seemed like a good idea at the time. To <strong style="box-sizing: border-box;">Aly Spaltro</strong>, anonymity was all-important: she was working right next door to the record store where a stack of her homemade CDs were on the counter.</div>
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She’d made fifty to be given away free – and they were snapped up. So she made more, selling them this time. They went just as quickly. People were comparing her music to <strong style="box-sizing: border-box;">Patti Smith</strong>, <strong style="box-sizing: border-box;">The Breeders</strong>, <strong style="box-sizing: border-box;">P.J. Harvey</strong> and <strong style="box-sizing: border-box;">Sharon van Etten</strong>, and for Aly, who was living in a small town in the US state of Maine, it was totally unexpected.</div>
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Her first official album, <em style="box-sizing: border-box;">Ripley Pine,</em> was an oblique, rambling record of sublime indie-folk; the sort of music you want to keep all for yourself. Now, though, she’s ditched the ‘and the Beekeeper’, and moved away from the form-defying, aimlessly wandering tendencies of her previous album to take a different, more carefully plotted direction. Her new offering <em style="box-sizing: border-box;">After</em> retains a poet’s eye, exploring both the inner and outer self, but it has the pop sensibilities of, say, <strong style="box-sizing: border-box;">Dum Dum Girls</strong>.</div>
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The musician beams from ear to ear at the comparison. “I find it really difficult to write a chorus which is why I wanted to write some – to be formulaic. I wanted to be excited about this album,” she says candidly as she meets TGA to promote her new release.</div>
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Spaltro explains, “With the first, my influences at the time were writing really long songs – <strong style="box-sizing: border-box;">of Montreal</strong>, <strong style="box-sizing: border-box;">Joanna Newsom</strong> and <strong style="box-sizing: border-box;">The Fiery Furnaces</strong> – and I was really drawn to that. I think I had a subconscious desire… a feeling that I didn’t have to edit. So the songs were more meandering, with different movements and tempo changes, and I didn’t stick to a formula.”</div>
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By contrast, new album opener ‘Vena Cava’ has an elevating chorus, with a shift in key and tempo – as if you’re climbing a tree almost, and you’re reaching for the highest branch with a bold swing and a whoop.</div>
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In ‘Spat out Spit’, meanwhile – a song that ponders how strange we all are (“I could be cracked open like a cartoon watermelon/Then you could see the solar system suspended in me/It’s the same one in you”) – the chorus snaps into place with an uplifting offbeat drum march.</div>
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Whatever Spaltro may say, ‘After’ shows that Aly hasn’t actually given up her wilful, artistic nature. She’s simply demonstrating an appreciation for the existence of a desire for – and joy of – ear candy.</div>
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You could say her musical progression mirrors her physical journey. Five years ago, she moved from Brunswick, Maine to Brooklyn, New York and hasn’t looked back. In that time, she’s amassed an impressive roll call of live dates and tours both past, present and future – she’s <a href="http://www.ladylambjams.com/tour/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" target="_blank" title="due in the UK this autumn">due in the UK this autumn</a>.</div>
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It’s given her the opportunity to fine-tune her talent, and her flair for songwriting is getting noticed. Comparisons to <strong style="box-sizing: border-box;">Kim Deal</strong> wouldn’t be remiss. Hold on to your heart for ‘Dear Arkansas Daughter’ – it has a boldness and a bite as dynamic as anything <strong style="box-sizing: border-box;">The Breeders</strong> or <strong style="box-sizing: border-box;">Pixies</strong> have produced.</div>
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Aly says, “I worked with the same producer [Nadim Issa] as my last album, in his studio near my apartment in Brooklyn, but I co-produced it this time and did a lot more of the instrumentation. Last time we recorded it live with the band and played all the songs and then I layered them. This was a very concise project where I arranged everything in my apartment first.”</div>
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Of course, it makes total sense when Spaltro says she’d like to produce other artists one day. “That’s what I would love to do.” She also wants to be entirely autonomous when it comes to producing her next album: “I feel at most I need an engineer to help put the mics where they [need to] go. I very much know what sound I want to go for. I like to be self-sufficient and self-reliant.” She’s even considered starting her own label.</div>
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So far, so in control. The song ‘Atlas’ declares: “Honey, I know where I’ve come from.” Such self-assurance, but does Aly really feel she knows herself?</div>
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“Yes I do! I put that [song] at the end of the album because I feel that it’s a good book end,” she enthuses. “The song is about taking responsibility for myself and staying true to myself. It’s something I struggled with on the last album, which was more about what I wanted from other people. This one was about having the power in myself to be happy.”</div>
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She’s always had the power within herself to be happy, just as she’s always had a keen self-awareness and a curiosity about life. Rewind to a normal weekday in the still of the Arizona landscape; dry, arid, dusty. It’s playtime at Aly Spaltro’s school. She is that little girl sitting on the huge rock on the edge of the noisy playground, listening to the <em style="box-sizing: border-box;">White Album</em> by <strong style="box-sizing: border-box;">The Beatles</strong> on her headphones – you know, their weird record. “I had such a beautiful childhood – happy, loving, memories of eating juicy watermelons on baking-hot days. There was absolutely no reason for me to have deep feelings at such an early age, but I do remember sitting on that rock and looking up and thinking: ‘Where are we? What is life?’ And it’s carried on and I find ways to express it in my music.”</div>
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It’s an example set by her mum, a strong influence in her life: to remember the past through a child’s eyes. The song ‘10’ is about how her mum keeps a diary of childhood memories. “When she remembers something from when she was little she’ll write it down for us to read later, and it’s written from her child-self viewpoint. She’s a really wonderful woman. Doing this is so intimate and special – she’s given us this story of her life; little fragments. Sometimes they are the most simple things, like a memory of my grandmother’s hands. Other times, it’s a stand-out memory, like when she saw an eagle with a fish in its mouth.”</div>
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Spaltro’s dad was in the US Air Force so, as a child, her family moved about a lot. That’s how she ended up in Maine, where her need to write drove her will to learn how to play guitar.</div>
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“I learned two chords first and just wrote a song with two chords,” she says. “When I was ready I added a third and painstakingly taught myself. It took a lot of patience and free time to achieve but I was working the closing shift and so I was able to find the time. When a little kid comes up to me with their mum and says how they are learning guitar, I always tell them that they are one step ahead of me because I had to teach myself and I didn’t start ‘til I was 18.”</div>
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<a href="http://www.thegirlsare.com/wp-content/uploads/2015/06/LadyLamb_3_byShervinLainez.jpeg" style="box-sizing: border-box; color: #64425b; text-decoration: none;"><img alt="LadyLamb_3_byShervinLainez" class="size-medium wp-image-36734 aligncenter" src="http://www.thegirlsare.com/wp-content/uploads/2015/06/LadyLamb_3_byShervinLainez-480x475.jpeg" height="475" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 5px auto; vertical-align: middle; width: 500px;" width="480" /></a></div>
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Aly is a contemporary example of grrrl power. Not only is she in control of how she conveys herself lyrically and musically but she’s also in charge of how she’s represented visually – as well as in business. And though she was unaware of it in 2007 when she started making music, she has since drawn inspiration from the riot grrrl movement. “I think I was a little young when it happened,” she says. “Now I have found respect for <strong style="box-sizing: border-box;">Kathleen Hanna</strong> (<strong style="box-sizing: border-box;">Bikini Kill</strong>). I think a lot of people always presume there’s a man in the background sorting out everything and that you can’t do it without some insider knowledge. But that’s just not true. You can do it for yourself.”</div>
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And do it all for herself she really does – down to designing the album covers and developing concepts for photographs. Total artistic control.</div>
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“I’m really interested in the visual aspects,” she says betraying a multifaceted creativity. “For this album I made two lyric videos – ‘Spat out Spit’ and ‘Billions of Eyes’. ‘Billions of Eyes’ [I created from scratch] and ‘Spat out Spit’ I took from former stock pictures of the Sixties, but I edited it.”</div>
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She is even self-managing. “I’ve been managing myself for almost six years,” says Aly. “I love the organisation side of it, keeping on top of things and speaking one-on-one with my publicist, booking agent or record label. I’ve found it’s important to understand what’s going on – knowledge is power. Because I’m in the forefront and answering the team, I am representing myself how I want to be represented – instead of someone else speaking for me. It’s fine if you are an artist and you just want to focus on the songwriting but I want to go and have meetings with my record label about what do next – be involved in the strategy, understand what a publishing deal is and so on; the inner workings of things. I really enjoy that process but I do find it difficult when I’m on tour.”</div>
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You might call her a control freak but for Aly, it seems simply to stem from a desire to channel her creative vision and express herself honestly. She’s passionate and wants to be understood. That’s perhaps why she is always ready to offer up a narrative of each and every track on <em style="box-sizing: border-box;">After</em>. She’s a poet and wants her words to mean something.</div>
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It must be hard being a poet in the 21<span style="box-sizing: border-box; font-size: 9px; line-height: 0; position: relative; top: -0.5em; vertical-align: baseline;">st</span> Century. “Yes and no,” she says. “What I’m intrigued by lately is the way that we are looking at our phones all day long and are having trouble connecting with each other – and how special it is to connect with a stranger, when normally you think it’s scary. It’s easy to keep your head down and not look up and experience people. I find that when I connect with a stranger in any way I feel refreshed by it. I feel like I have a little more pep in my step.”</div>
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‘Billions of Eyes’ is about that, she says. “It has a lot to do with anxiety and feeling a little bit overwhelmed. I was thinking, ‘What about when I’m in my room looking at my phone and there’s six million people doing the same thing, but differently?’ When you think sometimes your head spins a little bit and suddenly I’m taken into these existential topics.”</div>
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A theme of duality is evident in <em style="box-sizing: border-box;">After.</em> The elegant and smart ‘Sunday Shoes’ whispers of a death, but in fact it’s a response to the childhood feeling she recalled on hearing about the oncoming birth of her new baby step sister: “’My parents are never going to get back together,’ I thought. In some weird way, writing about it helped me to reconcile that.”</div>
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Often in these songs, there is a twist to the tale, such as with ‘Heretic’ and the peculiarity that strikes her about sleeping soundly as a child, in Arizona, while the most talked-about UFO sighting ever (now known as the Phoenix Lights) was going on.</div>
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She laughs. “I’m intrigued about this sort of thing. I thought it was really funny that I was sleeping as they allegedly passed overhead.”</div>
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All her recent writing reflects memories of family and friends, both direct and ambiguous yet always loving. These musings sit beside more random thoughts: seeing someone yawn – but suddenly, as if for the first time – on a train on an ordinary day spirals into a song (‘Billions of Eyes’).</div>
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“You see someone yawning every day,” she says. “But for some reason my perspective shifted on that day, I saw it happen as if I was not used to seeing it and I looked and I thought how odd we all are,” she elaborates. “That epitomises the whole record, which is much less a break-up album (like the last) and more about family, friends, things I’m afraid of or thoughts. Like, I see something and, as naturally happens with thoughts, they turn into deeper thoughts and suddenly I’m dwelling on existential topics, wondering if this is all a dream.”</div>
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Perhaps that explains Aly’s dreamy vocals, then. What’s not a dream, of course, is Aly’s success. Writing, recording and performing: Aly may be fulfilling a childhood ambition but it’s very real. And she loves that what she’s achieved inspires others.</div>
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When Lady Lamb tours this autumn, you’ll most likely see her at the merchandise stall, talking to fans. “On the last US tour, I went to the merch table every night,” she says. “Someone would always come up to me and say something amazing, like how they travelled to get there or how they’ve started to play music because of me. It [feels] silly to verbalise now but at the time, especially after performing, it’s so moving. It never gets old.”</div>
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She ends with this parting shot: “I feel very lucky. I’m fortunate to write music that really connects with people and stays with them. To me that is what it’s all about.”</div>
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<em style="box-sizing: border-box;">After is out on 29 June 2015 via BB*Island.</em></div>
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Catch Lady Lamb live across Europe this September/October:</div>
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Thu September 17 – The Grand Social – Dublin, Ireland</div>
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Sun September 20 – Incubate Festival De Harmonie – Tilburg, Netherlands</div>
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Mon September 21 – Bitterzoet – Amsterdam, Netherlands</div>
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Tue September 22 – Merleyn – Nijmegen, Netherlands</div>
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Wed September 23 – Botanique, Witlof Bar – Brussels, Belgium</div>
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Thu September 24 – Blue Shell
– Cologne, Germany</div>
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Fri September 25 – Reeperbahn Festival – Hamburg, Germany</div>
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Sat September 26 – Berlin Independent Night – Berlin</div>
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Mon September 28 – The Lexington – London, UK</div>
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Wed September 30 – Broadcast – Glasgow, UK</div>
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Thu October 10 – The Castle – Manchester, UK</div>
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Fri October 02 – The Hope – Brighton, UK</div>
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Sun October 04 – La Peniche – Lille, France</div>
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Mon October 05 – Pop Up Du Label – Paris, France</div>
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Tue October 06 – Bogen F – Zürich, Switzerland</div>
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<strong style="box-sizing: border-box; font-weight: bold;">Ngaire Ruth</strong></div>
ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-943009034193175862015-06-26T02:44:00.002-07:002015-06-26T06:48:05.013-07:00Never Too Late | Prolapse review extra <!--[if gte mso 9]><xml>
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<span style="font-family: Helvetica;"><i>I'm in the bar of the Hope & Ruin, Brighton with writer Lucy Cage and Andrea Feldman, mamma of the 90s fanzine Warped Reality. </i></span><i style="font-family: Helvetica;">Andrea now lives back home in the States but she used to work for the brilliant independent label Too Pure (who first released P. J. Harvey and hosted the infamous Sausage Machine club, my local at the time). Her fanzine covered some class acts: Throwing Muses, Lida Husik and of course, Prolapse. Warped Reality loved Prolapse: released a split flexi disc: </i><br />
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<i style="font-family: Helvetica;">Also settled at our table is Mick Derrick, vocalist with Prolapse. It's been 16 years but I recognise him - a curious, sharp, easily humoured mind, down to earth manner, the Scottish accent. </i><span style="font-family: Helvetica;"><i> Tour manager, Tony Fisher (normally with <a href="https://soundcloud.com/arttripandthestaticsound">Art Trip And The Static Sound)</a> is outside having a fag and the rest of the band are milling about. Also here, two of support act Slum Of Legs, grinning, ready (Maria, violinist and Kate, guitarist). I am here to do an interview and review for Louder Than War - thought I would make myself useful - but it's just all too lush to pay attention. It's too perfect: friends, smiles, pints, seaside air, the adorable <a href="https://theethicaldebatingsociety.bandcamp.com/album/new-sense-2">TEDs </a>(see last post) supporting Prolapse, one of my favourite live bands ever, and the chance to catch up with much talked-about <a href="https://www.facebook.com/SlumOfLegs">Slum Of Legs</a>. </i></span></div>
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<span style="font-family: Helvetica;"><i>The story goes that
Prolapse formed in the summer of 1991 under a table at Leicester Polytechnic's
(Now DeMontfort University) Friday night disco, "With the aim of being the
most depressing band ever". (Wiki) Well, that didn't happen. For all the organised chaos, looped groves and thrash guitar, Prolapse crafted some superb pop songs and earned a cult following for their live set,
particularly for the nervous tension within songs, and the performances of Linda Steelyard and Mick Derrick. <o:p></o:p></i></span></div>
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<span style="font-family: Helvetica;"><i>They released umpteen
EPs and four albums, all reaching critical acclaim, and disbanded in 1999. They made pop songs an art (there is a story about the making of this video in the review below). <o:p></o:p></i></span></div>
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</i></span><span style="font-family: Helvetica;"><i>In early 2015 the band announced a
series of headline shows in addition to support slots with Mogwai. The first,
at Manchester’s Roadhouse on 28th May, was performed 16 years to the day since
their last. This show is hosted by independent promoter Tobi Blackman, a supporter is Mark E Smith. </i></span></div>
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<span style="font-family: Helvetica; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This
review originally appeared in <a href="http://louderthanwar.com/prolapse-slum-of-legs-the-ethical-debating-society-brighton-live-review/">Louder Than War</a></span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8wo3t83WQVliSUhzrhFr8kAOiPKgPol-4ooovmYk1orNXL9DaVpIb235GiuK2ZmU3tTSisbGokv6hDB5-03DOFAtYNnImFZt9CLKpvE6gHHO5GTBmogKI-78KA6CX3KHyJiM4N0LRSwQ/s1600/prolapse+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8wo3t83WQVliSUhzrhFr8kAOiPKgPol-4ooovmYk1orNXL9DaVpIb235GiuK2ZmU3tTSisbGokv6hDB5-03DOFAtYNnImFZt9CLKpvE6gHHO5GTBmogKI-78KA6CX3KHyJiM4N0LRSwQ/s320/prolapse+1.jpg" width="320" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">THE words razorblades, slash, chaffing, headless and psychotic feature heavily
tonight. We’re in for a good one. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">It
is very rare that you get to reference tonight’s headliners Prolapse (1991-1999)
when describing a band but I have been using it all year when writing about the
trio The Ethical Debating Society. There is something about the vocal clashes
and narratives, between vocalists/guitarists Kris and Tegan, that begs for the
comparisons, none more so than in “Razor Party”. The driving, hardcore drumbeat
is the bass, on a promise, the guitars bring the scream in songs like “Cover
Up” or “Kill You Last”.<span style="mso-spacerun: yes;"> </span>It’s a
riot of pop-punk: a cut and paste of politics, sarcasm, freedom, relationships.
This gig coincides with the launch of the <a href="https://theethicaldebatingsociety.bandcamp.com/album/new-sense-2">debut album “New Sense” </a>and there’s a
queue of people who came for the bands they know (Slum Of Legs and Prolapse)
buying it from the merchandise stall. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Buzz,
buzz, buzz, Slum Of Legs, buzz, buzz, buzz. This is their hometown and they
have the hot support gig. They don’t write set lists, just announce the songs
but in the excitement I seem to have wiped my notes and song titles on my phone.
All that’s left is: squeeeeeee. It’s the musicality meets riot grrrl or
queer-punk mentality that makes this special. There are six of them up there
making merry and it’s a beautiful thing, but it’s the violin, keyboards and
wierdy stylophone, the vocalist’s boldness and brilliance, that’s bringing the
party atmosphere. Why has nobody thought to make a Huggy Bear meets The
Levellers combo before? <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">It
is not about the return of Prolapse, who had critical and radio success for
nearly ten years with noisy pop songs like “Pull thru’ Barker”, part of
tonight’s encore, and the let-it-all-out ones like “Headless In A Beat Motel”,
(even Louder Than War’s John Robb worked on two of the four albums). It’s a celebration,
which started because Mogwai wondered if they’d like to support them in the
summer, in the UK. This band of seven are now scattered all over Europe so it’s
also rare for them to be able to be in the same place, at the same time. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Tonight
though, is the last headline slot in a small venue, probably ever and in
vocalist Scottish Mick’s own words, they’re getting the hang of it again now –
less sweat and more joy. Opener “Psychotic Now” is a perfect tease, coming out
of one bass line, guitars building into what we know: driving rhythms, rock and
roll melodies and Lindy Steelyard and Mick Derrick, both at odds with their
vocals, yet together in the way of contrapuntal rhythms. (Love this band
forever, who else makes you think of Bach as a reference point?) It’s also one
for the Prolapse Massive, since “Psychotic Now” came as a split flexi disc with
fanzine Warped Reality. In fact WR mamma, Andrea Feldman, has travelled from
her hometown of Providence in the States for the tour and is standing right next
to me at this very moment, although you never actually stand still at a
Prolapse gig, it’s impossible not to catch the nervous tension. Linda rubs her
hands together repeatedly, rocks back and forth, Mick paces and pokes, messes
dangerously with the mike, stretching it’s wires, kicking about in a puddle of
beer. The performance fascinates and entertains. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">The
pop songs are a pleasure, “Killing The Bland”, “Doorstep Rhythmic Bloc” and
“TCR”. Mick talks about that stage of Prolapse and being in New York to shoot
the video for “TCR”, clearing the streets of Manhattan, and no, he did not fall
in love with his make up artist. The other songs tonight (“Flex”, “Slash”,
“Government Of Spain”, “Visa For Violet and Van”) are like the demons inside
you know you need to make friends with - being as the narrative and soundtrack
are an antennae to the human condition, with piercing observation and affection
– and the loop and groove of three guitars and bass, the relentless hardcore
attitude to funky drumming, drags you into its tow. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Like
good theatre, Prolapse don’t leave the crowd needing to be in their gang, or desperately
wishing this was a comeback, just renewed enthusiasm and the strength required
for waving our freak flags high. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Ngaire
Ruth <o:p></o:p></span></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com3tag:blogger.com,1999:blog-5558030719653502938.post-54994498378450459392015-06-09T03:59:00.001-07:002015-06-17T02:29:27.529-07:00Don't Call Me Names | Why do bands hate labels? <div class="MsoNormal">
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<span style="background-color: #999999; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">We're out of the ghetto and over the wall, what's next? Plus two new Riot Grrrl and proud bands. </span><br />
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Bands always moan about being given labels by the media: lo-fi, indie, punk, folk and the term Riot Grrrl is no exception.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">T</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">he label Riot Grrrl has been used to categorise almost any dynamic woman or women on the stage – not just DIY outfits. But Riot Grrrl isn't just about girls, or women, it's a sound, an attitude; ultimately it's feminist to the very bone, which again does not mean women only.</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><br /></span></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Slipping the term into conversation to describe a sound, rather than the feminism revolution on which it was based, has ruined many an afternoon tea. But generally, sometimes musicians irk at the mention of the label, Riot Grrrl, because it is 20 years old and they think such a comparison means they are doing nothing new. <o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Yes you are and GET BLOODY USED TO IT! Did Blur complain about being compared to The Kinks? No! </span><span style="color: orange;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">If we don’t claim Riot Grrrl as a genre then it does not become part of the cannon.</span> </span></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">This is truly important.</span></div>
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<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">It means more feminists in music (boys and girls).</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">It means more women writers in music criticism.</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">It means more women’s writing in music criticism.</span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">It means we can stop writing reference books that catch up on forgotten women’s talent and art because they won't disappear in the first place. Instead, we can write essays and books which extend thinking. Such resources will give students in women's studies, journalism and media published theories to back up their arguments/point (evident over the last decade), and statistics (what needs to be done now/next), which can put pressure on change. </span></li>
<li><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">And we still need to apply the RG manifesto using layman’s language, in little reviews or new's stories – see Kathleen Hanna | A feminist criterion or anything in this Blog - takes a bow. (And how many of the next generation will be able to afford university even if they want to?) </span></li>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Exit | Riot Grrrl and proud</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A celebration of two new DIY bands channelling the spirit of Riot Grrrl</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">S</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">tarting from the viewpoint that every genre is a tradition (Billy Childish/Peter Dale)) the trio The Ethical Debating Society (Tegan & Martin, guitars, Elli, drums) believe that you shouldn’t be egotistical and reject labels, in their case Riot Grrrl, punk, indie, or reference points (Prolapse, Nirvana, Huggy Bear), thinking that you are doing something completely new, because what’s actually new is the energy: fresh, biting, sincere, cute. And the themes: politics, snapshots, cut and paste, sardonic, relationships. The debut album (released 22<sup>nd</sup> June) is called <a href="https://theethicaldebatingsociety.bandcamp.com/album/new-sense-2"><i style="mso-bidi-font-style: normal;">New</i> Sense</a> , <a href="https://soundcloud.com/oddbox">Odd Box Records</a>, geddit? </span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><br /></span>
</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">TEDs: dragging the universal and their joint influences kicking and screaming into the personal experience, try <a href="http://overblown.co.uk/the-ethical-debating-society-cover-up-overblown-track-premiere/">'Cover Up'</a> (about ecology) at Overblown. </span><o:p></o:p></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">TED’s want to get women into music. They want to get </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">ordinary people who don’t think they can be in a band to Just Do It. It’s music for all at this north London camp. They headline <a href="https://www.facebook.com/events/898384736895234/">Powerlunches on 21st June</a> and The Hope & Ruin, Brighton supporting Slum Of Legs + Prolapse Tuesday, 23rd June. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Skating Polly</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Another group that deserve faithful adoration and over the top encouragement is Skating Polly, who also embrace the Riot Grrrl label and recently supported Babes In Toyland on the UK tour - and made a big impact.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Photo from <a href="https://kendalllacey.wordpress.com/author/kendalllacey/page/27/">Kendalllacey</a></span></td></tr>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">From Oklahoma, US, Deerhoof, Kate Nash and Flaming Lips are just a few of the cool bands who want Kelli and Peyton in their gang from a big list of cool bands - endearing all with a fresh attitude and an articulate fury. The popular observation is that they are selling out venues they're not actually legally allowed to be in yet. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small; mso-ansi-language: EN-GB;">Read Hannah Golightly's interview at <a href="http://www.collapseboard.com/features/interviews/no-skating-polly-they-kick-ass-and-theyre-heavy-and-theyre-girls-and-i-love-it-its-amazing/">Collapseboard</a>. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: xx-small; mso-ansi-language: EN-GB;">Footnote: Please respond to call out for stats: June 6th Blog</span></div>
ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-49498100253473806282015-06-05T08:29:00.000-07:002015-06-07T05:08:37.776-07:00Tomorrows Bands Today | unknown boy bands on covers of music press<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Yz4VEDUVHZB-VU9s2wRJM1D05p_DOr2cZJ8jCedSOmexLwHFoaXF94agVkmNEf_PSJ5a1PwLMlSmrN4Yz-oIiwsY_MB2qUv2EPWa7S3PkNueqEjr1NYI9rDmYwXozR4I8INhEdqgu4M/s1600/annie+art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Yz4VEDUVHZB-VU9s2wRJM1D05p_DOr2cZJ8jCedSOmexLwHFoaXF94agVkmNEf_PSJ5a1PwLMlSmrN4Yz-oIiwsY_MB2qUv2EPWa7S3PkNueqEjr1NYI9rDmYwXozR4I8INhEdqgu4M/s400/annie+art.jpg" width="400" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="background-color: white; color: #141823; line-height: 18px;">Press coverage of women artists and bands in popular music</span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="background-color: white; color: #141823; line-height: 18px;"><br /></span></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #141823; line-height: 18px;">In 2012 <a href="https://www.facebook.com/miss.gardiner?fref=ts">Annie Gardiner</a> made an art installation out of the gender balance on the covers of the NME over a 20 year collection for Ladyfest Bristol (see photo). It has had surges in interest every year since, and today she is talking about it with </span><span style="color: black;"><a href="https://www.escholar.manchester.ac.uk/uk-ac-man-scw:235567">Susan O'Shea</a></span><span style="background-color: white; color: #141823; line-height: 18px;"> at Oxford Brookes University as part of the Consuming/Culture Conference (5th June 2015). (Also read Susan O'Shea's thesis: <a href="https://www.escholar.manchester.ac.uk/uk-ac-man-scw:235567">The Art Worlds of Punk Inspired Feminist Networks</a>.)</span></span><br />
<span style="color: orange; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On a thread in social media today, about this installation, a young woman has commented: Yeah, and how many of those on the cover are P. J. Harvey? </span><br />
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<span style="color: orange;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">That made me laugh. Also made me sad. I r</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">emember bringing P J Harvey to the reviews table and the following comment: another one of Ngaire's lesbians.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> It took three weeks of hassling before it was published - a tiny 300 words. </span></span><br />
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<span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Once she sold records she earned her place in the newspaper, but was that the case with boy bands, did they have to earn their place? </span><br />
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<span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Yes, the whole point of tomorrow's bands today is that they are unknown but how many unknown women bands got on the cover of the paper in proportion to the boyz?</span><br />
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<li><span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">How many boy bands got on the cover of the paper when they barely had produced anything worthwhile? Menswear instantly spring to mind. </span></li>
<li><span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">How many boy bands introduced a women vocalist in order to get on the front cover of a newspaper? </span></li>
<li><span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">What is happening now? </span></li>
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<span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">We need stats! </span><br />
<span style="color: orange; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Send band names to: ngaireruth105@gmail.com or here, in comments is good - then others can respond.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Women's writing in music publishing</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Because writing about women in bands and women artists is related to both the ratio of women writers and the role expected of them, here is an amazing piece and useful tool for any media student - <a href="http://www.womenwritingrights.com/1990s.html">Women Writing Rights</a> - in fact part of <a href="https://www.facebook.com/ines.punessen?fref=ts">Innes Punessen's</a> MA. It's a really careful, detailed account of her research, engaging in its own right which focuses on women's writing in the music press. It includes video interviews with myself, writer Andrew Mueller, Andy Prevezer, Warner's, and writer and course leader at Solent, Southampton, Martin James who wholly encourages this behaviour. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">I hate my middle class mum hair in this video and trying too hard behaviour which makes what I'm saying seem fickle and arrogant. I am used to asking the questions and teaching, which is altogether different because that 'reason you teach thing' takes over and all your skills are for the benefit of others - the focus isn't on you at all. I don't know whether these things in themselves are a product of being a woman - don't draw attention to yourself, nurture, OMG even excusing it (!) - it's likely. On arrival back to London I did find the hairdresser bullied me into this style - realising now that they made assumptions (I walked into the hairdresser and what they saw was a middle aged, middle class teacher/mum). I am back in my own body now. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">See also: We made a mess and we're not sorry Th' Hysterical Injury in this blog. Also <a href="http://pushblog./">Pushblog.</a> </span><br />
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<br />ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-28855167959906681742015-05-25T04:53:00.004-07:002021-10-04T04:12:55.236-07:00 Kathleen Hanna a feminist criterion | Ye Nuns Revisited <p style="clear: both; text-align: center;"></p><div style="text-align: left;"><span style="color: orange;"><span style="font-family: helvetica;">Using the Riot Grrrl manifesto as a feminist criterion </span></span></div><div style="text-align: left;"><span style="color: orange;"><span style="font-family: helvetica;"><br /></span></span></div><span lang="EN-US" style="font-family: helvetica;"><div style="text-align: left;">I have
written about Ye Nuns twice now, in <a href="http://www.thegirlsare.com/">the girls are</a> and at <a href="http://louderthanwar.com/">Louder Than War</a>. There
is often a political element to the review because that is what these women are
about – they are informed, angry and busy. But I have missed the point: the
feminist viewpoint. And it’s my own fault, I got very excited about Ye Nuns
having overcome number one of <a href="http://www.kathleenhanna.com/">Kathleen Hanna’s </a>manifesto for the case of Riot
Grrrl What is Riot Grrrl? (<a href="http://www.feministpress.org/books/riot-grrrl-collection-0">The Riot Grrrl Collection, The Feminist Press, 2013</a>)</div></span><div style="margin-left: 1em; margin-right: 1em; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5U7XjWMtn4pJgebqo53tWSpY1R_Cpgr7EW6DbSQkatTL0drYIDQzBGzQbNukqU_Vdaki04DrFX7VdpduDu_3p2v2GZzEWwh8pdFSfiClvJZpFKYY5ONAwJM1JVg0Ij0wcImGS3ofZ14/s1600/kathleen+hanna+.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: helvetica;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5U7XjWMtn4pJgebqo53tWSpY1R_Cpgr7EW6DbSQkatTL0drYIDQzBGzQbNukqU_Vdaki04DrFX7VdpduDu_3p2v2GZzEWwh8pdFSfiClvJZpFKYY5ONAwJM1JVg0Ij0wcImGS3ofZ14/s320/kathleen+hanna+.jpg" width="198" /></span></a></div><span style="font-family: helvetica;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US" style="mso-bidi-font-size: 12.0pt;"><div style="text-align: left;">Kathleen Hanna, Bikini Kill (Pic from <a href="http://www.rookiemag.com/2014/04/bikini-kill-premiere-2/">Rookie mag</a>, from Bikini Kill) </div><div style="text-align: left;"><br /></div></span><span lang="EN-US" style="mso-bidi-font-size: 12.0pt;"><div style="text-align: left;"><span style="color: orange;">Number 1: Because we will never meet the
hierarchical boy standards of talented, or cool, or smart. They are created to
keep us out, and if we ever meet them they will change, or we will become
tokens.</span><span style="color: orange; mso-spacerun: yes;"> </span></div></span><span lang="EN-US"><div style="text-align: left;">The cool guys love this band. The venue was full of old faces from various Camden bands in my 90s days as norf London girl, writing for Melody Maker. Even Gary, from Wiiija Records, had travelled from Germany – though something odd was going on there because he did not seem to have aged one bit. </div></span><span lang="EN-US"><div style="text-align: left;">I think the cool guys are Ye Nuns fans because they play songs from The Monk’s repertoire, a cult band and part of the white middle-class male popular music canon, BUT they play the music better than they could themselves. </div></span><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US" style="color: #262626; mso-bidi-font-family: "Helvetica Neue";"><div style="text-align: left;">As explained in my first Ye Nuns review (TGA)</div></span><span lang="EN-US"><div style="text-align: left;"><i style="color: orange;">“The Monks were an avant-garde German band from the 1960s. You can hear the timeline in the keyboard’s random gestures. Bands like <span style="mso-bidi-font-weight: bold;">The White<b> </b>Stripes </span>and <span style="mso-bidi-font-weight: bold;">The Fall<b> </b></span>have cited The Monks experimental sound as an influence. The original line-up even went as far as adopting the monk’s tonsure hairstyle, wearing a uniform of black, with nooses worn as neckties and coining the very apt phrase “gallows rock”. Yes, there was a UK punk band, of the same name, but this particular crew were originally American GI’s, based in Germany, who developed a 60s sound, but with a difference.”</i></div></span><span lang="EN-US"><div style="text-align: left;">I've wasted two reviews, and even this article, of how cool one of my favourite bands is in a tone that's defined by men; how I've been trained as a heterosexual female by my social world. </div></span><span lang="EN-US"><div style="text-align: left;">I've championed bands that these women have been in Curve, Echobelly, Toxic Shock
Syndrome, The Frantic Spiders, Mambo Taxi, A-Lines, to name just a few of this
group’s herstory, with adoration and belief for years. I have always loved the
way they played their instruments. I've not always been able to relate a bands sound to references from the male canon of popular music. There was no internet. Your perception came from your own cultural influences and assumptions - I was searching for a new narrative and different energy other than the women blues and soul artists, Dinah Washington, Big Mamma Thornton, Aretha Franklin, Billie Holliday, for example, that I was listening to when left alone. I was looking for my tribe. </div></span></span><p></p>
<div class="MsoNormal"><span style="font-family: helvetica;">At the time I would panic if my flatmate Push, an established </span><i style="font-family: helvetica;">Melody Maker</i><span style="font-family: helvetica;"> writer, now editor exec of </span><i style="font-family: helvetica;">Electronic Sound</i><span style="font-family: helvetica;"> magazine (app) wasn't around to contribute comparisons from the legacy of alternative music. When he moved on to a live-in girlfriend, I seemed to date record collectors. Interestingly, it's only in retrospect I can see the connection. I didn’t realise
that the popular music canon belonged to the white middle-class male, I just
thought I was right down the bottom of the pile, an uneducated idiot who didn’t
even know all the millions of conspiracy
theories boys and boys in bands liked to whiter on about. The only thing that
felt good was being in the middle of a gig. Then I belonged.</span><span style="font-family: helvetica; mso-spacerun: yes;"> And it was all about being a sponge, and creative alone in a room - emerging knowing what you think and why you think that. </span></div>
<div class="MsoNormal"><span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><span><span lang="EN-US">It's interesting to read Lucy O'Brien's (The Catholic Girls) account of arriving at the N.M.E. in a 2009 <i><a href="http://www.theguardian.com/lifeandstyle/2009/jul/31/nme-first-female-editor">Guardian piece</a> </i>- her experiences seem to mirror exactly mine at the Melody Maker some years later. </span></span><br />
<span><span lang="EN-US"><br /></span></span>
<span><span lang="EN-US">What I failed
to say about Ye Nuns and Kathleen Hanna’s Number 1 reasoning is that they are
far from a copycat version of The Monks, they do brave, cheeky, and entirely
delicious things with the songs because they can, they have the skills to do
it. It’s that old chestnut: learn the rules so you can break them. They have </span><span lang="EN-US" style="mso-bidi-font-size: 12.0pt;">reclaimed</span><span lang="EN-US"> the </span><b><span lang="EN-US" style="color: #00106a; mso-bidi-font-family: Helvetica;">hierarchical </span></b></span><span lang="EN-US"><span>boys' standards of cool, alternative musicality and given it back to
them all twisted and full of feminine sexuality and they haven’t noticed! Whammy
and I didn’t mention it. I was too busy being excited that I could be one of
the boys and blab the history all by myself. (Thinking, subconsciously, this
was needed to support a comeback?)</span></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: orange; font-family: helvetica; mso-bidi-font-size: 12.0pt;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="color: orange;">Number 2: Because I need laughter and girl love.
We need to build lines of communication so we can more open and accessible
to each other.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif">This comes
from the inherent sense of competing with other women.</span></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">Reference to
No. 2 is one thing – hooray – I did mention in a Ye Nuns review (TGA). <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><span lang="EN-US" style="color: red; mso-bidi-font-family: "Helvetica Neue";"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="color: orange;"><i>“If there is a feminine language it’s in the
attitude of the band, in terms of flexibility; there are Ye Nuns stunt doubles,
when real life gets in the way of billings, no hierarchy, only a mutual
obsession to play the music they love, with a wild abandon.”</i></span></span><br />
<br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">I don’t know
the ratio of gay: not gay in Ye Nuns, it may even change from week to week.
They may all be gay- who cares? Well, know we do, apparently. It's inappropriate to get the pronoun a person identifies with WRONG, it's another way micro-aggressive racism and sexism can creep in. There
is certainly a difference in career progress without the children, perhaps even
within the band (another unknown) – child-care is still a major issue for
feminism, but that's a political issue, not a biological one, and crunching numbers and stats feminism. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US" style="mso-bidi-font-size: 12.0pt;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="color: orange;">Why we mustn’t forget Riot Grrrl:</span></span><br />
<span face="'Helvetica Neue', Arial, Helvetica, sans-serif"><span style="color: orange;">90’s media representation of women</span></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">Girl love is
not the same as girls having sex, well, not always. During the 90s I truly
loved Lesley of Silverfish (now <a href="https://www.facebook.com/RubyLesleyRankine">Ruby</a>, an electronica artist), and Roxanne of
The Faith Healers. There was no competing; there was much laughter and gossip. Lesley
took me to Scotland, with the rest of the band, in a silver bus (not glamorous,
dangerous toxic fumes filled the bus) to her mum’s bed & breakfast in
Scotland’s unique countryside. We rolled down green hills together – well
raced, the only element of competition in our friendship. Roxanne made me a
badge that said Girl Power. I wore it religiously. I declared how Roxanne of
The Faith Healers had given it to me because that was a feminist statement:
yeah, we talk, laugh, and encourage each other. Be afraid. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: helvetica;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/xnY26J9FuHo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/xnY26J9FuHo?feature=player_embedded" width="320"></iframe></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;"><br /></span></div>
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<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica; mso-bidi-font-size: 12.0pt;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="color: orange;">Writing about women in bands in the 90s</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">The only
other way I got to write with a feminist perspective during those times for a
national music paper was to avoid mentioning what they were wearing, avoid
putting them on a pedestal, absolutely avoid the word seminal. (When Bikini
Kill came along I had lyrics to hold close to my heart and regurgitate.) I
wasn’t given the opportunity to write about women like Kirstin Hersh, (Throwing
Muses). She was the second phase for me: I am angry and that’s OK. Unfortunately
or fortunately, probably both, she was captivating even in full-flow of
hysteria and put on a pedestal by my male colleagues keen to review, also
because the lyrics allowed analysis and male theorist references – the music
wasn’t alienating, angry in the way of Bikini Kill or Babes In Toyland,
although it was about those things. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><span lang="EN-US">Like me, Roxanne
and Lesley were open and enthusiastic. We had no idea how beautiful,
aesthetically, we were. We were clumsy and loud and forgot to look in the
mirror before we went out. (When I did Transmission regional TV programme –
introducing/interviewing indie bands - <span style="mso-spacerun: yes;"> </span>I literally got up from what I was doing, went to the loo, and
then left. It was my feminist statement, but I forgot to tell anybody and one
which I regretted, briefly. Had I played the game – learned words for an intro,
styled my hair, outfit, thought about the sexy, would I have moved on to a
career in presenting and not been poor all my life?) <o:p></o:p></span><br />
<span lang="EN-US"><br /></span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">Lesley and
Roxanne were absolutely nothing like the frontwomen I had grown up with, such
as Siouxsie Sioux, Blondie, Crissi Hynde, women who seemed really in control of
their sexuality and the men around them. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;"><span>I was unaware
of the legacy from which these beautiful women (Lesley and Roxanne) came
because until recently no one has written about the hardcore, punk scene. (<a href="http://www.supernovabooks.co.uk/womenmakenoise.html">SeeGirls Who Make Noise, edited by Julia Downes, 2012, Supernova</a>)</span><o:p></o:p></span></div>
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<br />
</span><div class="MsoNormal">
<span lang="EN-US"><span style="color: orange; font-family: helvetica;">Number 6: Because a safe space needs to be
created for girls where we can open our eyes and reach out to each other
without being threatened by this sexist society and our day-to-day bullshit.<o:p></o:p></span></span></div>
<span style="font-family: helvetica;"><!--EndFragment--><span face="'Helvetica Neue', Arial, Helvetica, sans-serif"><br /></span>
<span face="'Helvetica Neue', Arial, Helvetica, sans-serif">I admired
Josephine Wiggs, from That Perfect Disaster or Bilinda Butcher from My Bloody
Valentine from a distance, well as much of a distance as you get crammed into
the tiny, dark place that was The Falcon, Camden Town, but they were lo-fi cool,
probably I realise now, shy, awkward in the space. And the reason women-only
spaces, based on music, not sexuality was imperative and for which we have Riot
Grrrl to thank.</span></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">I am appalled
that collectives like the GLC-funded Ova Music Studios, founded by the feminist
band Ova (1976-1989) were active in my patch and I didn’t know about them. It
is my job to know about them, as a feminist music writer in 2015, but I am sad they
never knew about me. I would have loved to have learned about sound engineering in
a safe space – thus my fascination for women in electronica (I now write
for the app Electronic Sound); the next musical hierarchy to reclaim and return in a
different shape. Viva la difference! <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><br /></span></div>
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<span lang="EN-US" style="font-family: helvetica; mso-bidi-font-size: 12.0pt;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="color: orange;">Space is still a political issue</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US">The issue of
space still exists for women: the lack of affordable housing for single women,
the bedroom tax taking away a study, workroom or studio for probably thousands and thousands of
working-class creative women who may finally, actually have affordable housing and know all about the importance of a Room Of One’s Own whether they have read
Virginia Woolf or not. Not least there are women out there denied their own personal space due to
abuse, emotional or mental. </span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US" style="background-color: #444444;"><br /></span>
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" style="background-color: #444444; color: orange;">Number 7: Because we need to acknowledge that our blood is being spilt; that right now a girl is being raped or battered and it might be me or you or your mom or the girl you sat next to on the bus last Tuesday, and she might be dead by the time you finish reading this. I not making this up.</span><br />
</span><div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;"><br /></span></div>
<span style="font-family: helvetica;"><!--EndFragment--><span face="'Helvetica Neue', Arial, Helvetica, sans-serif">One thing: Katheeen Hanna/Riot Grrrl sometimes appear to presume is that we understand we are victims, that we know we need to shout, scream, tell tales - and that there's a safe space for that to happen. In 2015 we are
aware more of the manipulation of young women and men, alone in their rooms, on
the internet; unable to distinguish between evil intent and friendly banter, and worst of all, thinking they are in control. Space – or having personal space can mean danger
in the 21</span><sup>st</sup><span face="'Helvetica Neue', Arial, Helvetica, sans-serif"> Century. It’s almost a conspiracy. </span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif">
<span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US"><br /></span></span></span></div>
<div class="MsoNormal">
<span style="color: orange; font-family: helvetica;">Number 4: Because in every form of media I see
us/myself slapped, decapitated, laughed at, objectified, raped, trivialised,
pushed, ignored, stereotyped, kicked, scorned, molested, silenced invalidated,
knifed, shot, choked and killed.</span></div>
<div class="MsoNormal">
<span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US" style="mso-bidi-font-size: 12.0pt;"><span style="color: orange; font-family: helvetica;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: helvetica;"><span lang="EN-US"><span face="Helvetica Neue, Arial, Helvetica, sans-serif">What do you think when you look up and there's a bunch of women, in nuns' habits, having the time of their lives, holding chaos to ransom, and making it dance? </span></span><br />
<span lang="EN-US"><span face="Helvetica Neue, Arial, Helvetica, sans-serif"><br /></span></span>
<span lang="EN-US"><span face="Helvetica Neue, Arial, Helvetica, sans-serif">I forgot to
mention the Ye Nuns outfits. Avoiding this issue is ingrained although recently
I have resolved that a bit, after two years as a live editor at <b>thegirlsare</b>, since
music, fashion is all about artistic expression. Ye Nuns wear nuns habits
customised with fave accessories, but nuns habits all the same. What could be
more non-sexual? The nuns’ habit not only covers the parts at which boys like
to peek (at) but it represents chastity – no sex at all. They have offered up a
collective stereotype, which gives no one anything to chew on/over. It also
stops them from having to think about what to wear (what’s clean). But just when you think you have Ye Nuns worked out they throw you into confusion - open the debate, bow, and leave. Here's the 2015 video of 'Complication' (Nun More Black, Tuff Enuff Records, 2015).</span><span><o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="font-family: helvetica;"><br /></span></div>
<div class="separator" style="clear: both; text-align: left;"><br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: helvetica;"><br /></span></div>
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<span style="font-family: helvetica;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="color: orange; font-family: helvetica;">The point of this blurb</span></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: helvetica;">This article came about because increasingly I interview talented young boys and girl artists/musicians, who were too young to be inspired by Riot
Grrrl – they found out about the movement in retrospect. <o:p></o:p></span></div>
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<span style="font-family: helvetica;"><br /></span></div>
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<span style="font-family: helvetica;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US">I don't want to restrict elements of the RG agenda to archive material. This is a valid
feminist criterion on which to base writing, any review, interview. </span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US"><br /></span><br /></span></div>
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<span style="font-family: helvetica;"><br /></span></div>
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<span style="font-family: helvetica;"><i style="mso-bidi-font-style: normal;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US">Full Because at </span></i><a href="http://www.feministpress.org/books/riot-grrrl-collection-0">The Riot Grrrl Collection, The Feminist Press, 2013</a><span>, page 168.</span><br />
<span>Also read Susan O'Shea's thesis <a href="https://www.escholar.manchester.ac.uk/uk-ac-man-scw:235567">The Art World's of Punk Inspired Feminists</a>.</span><br />
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<span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US">More reading for writing: the french feminists Helene Cixous, Luce Irigaray, and Juliet Kristeva, who talk about coming from the inner to the outer world, who go right back to Freud and reinvent everything<span style="mso-spacerun: yes;"> </span>– the same as Ye Nun’s - returning in a different shape. <o:p></o:p></span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US"><br /></span><span face="Helvetica Neue, Arial, Helvetica, sans-serif" lang="EN-US">Have fun.</span><br />
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-31477526327114739242015-05-22T02:58:00.000-07:002015-05-22T03:02:38.870-07:00A Gendered Language: a feminist tool THRILLED to see this piece, originally published in the girls are, now being used as a tool for feminist argument : <a href="http://daphihi.blogspot.co.uk/2013/03/representation.html">A2 Media Representation </a>and in a debate on <a href="http://louderthanwar.com/the-louder-than-war-debate-do-men-make-better-feminists-by-diane-ofili/">Louder Than War. </a><br />
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Piece in full, with music videos, at <a href="http://www.thegirlsare.com/2011/11/26/gendered-language-women-in-music-videos/">the girls are </a><br />
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GENDERED LANGUAGE | WOMEN IN MUSIC VIDEOS</h2>
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<a href="http://www.thegirlsare.com/2011/11/26/gendered-language-women-in-music-videos/332592_10150282543687395_116136802394_6958979_1325980189_o/" rel="attachment wp-att-13167" style="box-sizing: border-box; color: #64425b; text-decoration: none;"><img alt="Kreayshawn" class="aligncenter size-medium wp-image-13167" src="http://www.thegirlsare.com/wp-content/uploads/2011/11/332592_10150282543687395_116136802394_6958979_1325980189_o-480x318.jpg" height="318" style="border: 0px; box-sizing: border-box; display: block; height: auto; margin: 5px auto; vertical-align: middle; width: 500px;" title="Kreayshawn" width="480" /></a></div>
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The music video got famous in the Eighties; bands embraced the new technology in a flash, using the opportunity to communicate a strong image and increase their selling power. Characters like Malcolm Maclaren used Vivienne Westwood’s creations to give acts like Bow Wow Wow an animated, colourful appeal, while at the other end of the spectrum Duran Duran began to produce almost mini-films, romantic snapshots of a fantasy high life, which of course included wish fulfilment for the male gaze – sun tanned, bikini clad women.</div>
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Cable TV and MTV came next (as a music critic for a National music paper at the time, it pained me to see the apathy of the next generation; happy to lounge like Curt Kobain and Courtney Love, watching music videos ad infinitum.) Since, YouTube, Vimeo and MySpace have ensured the music video becomes an even more powerful and desirable medium, with both major labels and independent acts ensuring that there are music videos of released EP’s, singles and album tracks available at a click.<span id="more-12893" style="box-sizing: border-box;"></span></div>
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There is a definite new breed of artist who takes creative control or even directs their music videos, perhaps borne out of financial necessity but also simply because this generation has the knowledge and understanding of multi-media. Californian artist <strong style="box-sizing: border-box;"><a href="http://wtf.kreayshawn.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Kreayshawn official website">Kreayshwn</a></strong> directed her own music video for the fantastic ‘Gucci Gucci’. A Berkeley Digital Film Institute dropout, Kreayshawn was even paid to direct a video for The Red Hot Chilli Peppers Chilli Ho single, ‘The Adventures of Rain Dance Maggie’, although they chose an alternate video cut for release, in the end.</div>
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This article celebrates some of the cutting-edge women artists, bands and directors who are representing women in a positive, exciting and original way. It also argues for more collaborations between independent artists and up and coming women directors.</div>
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That’s the good news. But it’s “same old” for the bad: it’s hard not to talk about women in music videos without sounding like someone’s gran, particularly in relation to the sex-role stereo-typing and objectification.</div>
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<strong style="box-sizing: border-box;">Same old? Some new</strong></div>
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The most notable horrors lie in male dominated musical genres such as rap and rock, but those of us who have chosen to stand in the front line should also consider the more subtle overtones present in many a pop video, the re-enforcing of a woman’s role as the victim (broken heart), the object of desire, continuing to perpetuate an inherently female knack for wistfulness and isolation (predictable), or even songs which sing a tune of co-dependency and heterosexuality as a given. Often these emotive tunes are courtesy of beautiful young, clearly intelligent women singer/songwriters, motivated by a DIY ethic and seemingly ticking all the boxes – a huge influence of the new generation of young women.</div>
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2011 has been a year for girls with guitars, pianos and tracks full of longing, acts like <strong style="box-sizing: border-box;"><a href="http://birdymusic.co.uk/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Birdy official website">Birdy</a></strong>, whose UK single, ‘Skinny Love’ made immediate impact with the mainstream DJs, thanks largely to the music video for the single, directed by acclaimed director <strong style="box-sizing: border-box;"><a href="http://http//www.factoryfilms.net/music-director/sophie-muller" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Sohpie Muller biog">Sophie Muller</a></strong>. Her rap includes The Jesus and The Mary Chain, collaborations with Sophie Ellis-Bextor, No Doubt, Shakespears Sister, Garbage, Blur, Annie Lennox and Eurythmics. While all my alarm bell’s ring at a cover like ‘Skinny Love’, that makes me feel depressed after I’ve listened to it, (sadly, we know the stats for self-harming in young teenage women), in comparison to the manic, over-sexualised or desperate and alone easily marketable options around, this is a fair representation of women for young women: active, because she plays an instrument, individual, she wears vintage, yet age appropriate clothing, no Barbie doll make up and showing off skill and curiosity.</div>
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<strong style="box-sizing: border-box;">Beautiful Hysterics</strong></div>
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It’s a fine line: much of feminism is about a celebration of the female form or a re-claiming of the male gaze. The male gaze is a term used by feminist film theorists – the viewer as spectator and as creepy as Freud.</div>
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French feminism, in particular the professor of feminist philosophy and playwright <strong style="box-sizing: border-box;">Helene Cixous </strong>and linguist, philosopher and psychoanalyst <strong style="box-sizing: border-box;"><a href="http://www.iep.utm.edu/irigaray/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Biography of Luce Irigaray, French Feminist">Luce Irigaray</a>,</strong> argue a good case for a gendered language which includes a physical language, a connection between female sexuality and creativity.</div>
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Any woman who has messed with the sexual taboos should be seen as a positive because they shock and amuse, they open debate – and you know the viewer is not having it all their own way. A few glorious examples: Germaine Greer naked on the cover of the legendary and original cultural magazine, Oz, for who she was a writer at the time; Madonna’s <em style="box-sizing: border-box;">Sex Book</em>; artist Tracey Emin; Lady Gaga and the 21<span style="box-sizing: border-box; font-size: 9px; line-height: 0; position: relative; top: -0.5em; vertical-align: baseline;">st</span> Century Twitter Queen, <a href="http://www.myspace.com/whokilledamandapalmer" style="box-sizing: border-box; color: #64425b; text-decoration: none;"><strong style="box-sizing: border-box;">Amanda Fucking </strong>(her words)<strong style="box-sizing: border-box;"> Palmer</strong></a>, in particular, reference to her ‘Map of Tasmania’ music video – to quote <strong style="box-sizing: border-box;">the girls are </strong>writer <a href="http://somethingtocryfor.blogspot.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="thegirlsare contributor Lucy Cage's blog">Lucy Cage</a>: “…a light and ludicrous ditty which manages to combine a paean to unshaven pudenda with a clamorous call to arms…”</div>
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But here’s the thing: artists such as Amanda Palmer confuse me, and not always in a good way. One comment on this video says: “Adult women have body hair. Get over it.” A recent live review of her in another on line music magazine, <em style="box-sizing: border-box;"><a href="http://http//www.collapseboard.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Everett True/The Legend's on-line music magazine">Collapseboard</a></em>, included the video link ‘Map of Tasmania’; later proudly reporting the piece as, overwhelmingly, the most read that week. (It made me go “urgh” which deflected from the vital, shining piece of writing which reviewed it.)</div>
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<strong style="box-sizing: border-box;">Let’s just call all the shots; it’s quicker that way</strong></div>
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It’s been said before and we’ll keep saying it: you can critique the form using film feminist theory, or just good instinct, with an exhaustive passion but maybe the real answer is with women music video directors.</div>
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An interview in www.<em style="box-sizing: border-box;">allbusiness.com</em><span style="box-sizing: border-box; color: black;"> by </span>Carla Hay explains that there are increasing numbers of women artists and producers yet very few directors. She quotes American directors <strong style="box-sizing: border-box;">Valerie Faris</strong> and <strong style="box-sizing: border-box;">Liz Friedlander</strong> who argue that becoming a director is hard, whatever your gender. The credible list of indie band names whom they can claim to have directed include for the former, The Red Hot Chilli Peppers, The Smashing Pumpkins and for the latter, R.E.M<strong style="box-sizing: border-box;">. </strong>and Alanis Morrssette<strong style="box-sizing: border-box;">.</strong></div>
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An article in <a href="http://www.independent.co.uk/arts-entertainment/music/features/its-time-for-women-to-call-the-music-video-shots-1920051.html)" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Emma Love: It's Time for Women to Call The Shots, The Independent.">The Independent ‘It’s Time for Women to Call the Music Video Shots’, by Emma Love </a>(12 March, 2010) deals with the representation of women artists by women directors, and interviews six of the better known women music directors: <a href="http://wn.com/Trudy_Bellinger" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Trudy Bellinger official website"><strong style="box-sizing: border-box;">Trudy Bellinger</strong> </a>(Girls Aloud, Pixie Lott, The Saturdays, Sophie Ellis Bextor<strong style="box-sizing: border-box;">); <a href="http://kingaburzablog.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Kinga Burza Blog">Kinga Burza </a></strong>(Katy Perry, Kate Nash, Marina and the Diamonds);<strong style="box-sizing: border-box;"> <a href="http://elishasmithleverock.blogspot.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" target="_blank" title="Elisha Smith-Leverock's Blog">Elisha Smith-Leverock</a></strong> (Bombay Bicycle Club);<strong style="box-sizing: border-box;"> Tabitha Denholm</strong> (Florence and the Machine, co-directed with Tom Beard); <a href="http://www.colonelblimp.com/#artist_sarahchatfield" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Biography Sarah Chatfield"><strong style="box-sizing: border-box;">Sarah Chatfield</strong> </a>(Lily Allen, Kid Sister, Filthy Dukes); and<strong style="box-sizing: border-box;">Dawn Shadforth </strong>(Kylie Minogue, Alison Goldfrapp, Björk, Florence and the Machine).</div>
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In this feature Sarah Chatfield was quoted as saying that until her big break came to work with Lily Allen, at the time one of the biggest, most popular new artists, she had “only ever worked with little indie bands”. Perhaps this is a reference to having previously only worked for peanuts, because that and a packet of crisps to share is sometimes all independent artist’s can afford. Veteran film director <strong style="box-sizing: border-box;">Caroline Richards</strong> is still directing low-fi edgy music pop videos, because she chooses to work with low-fi, edgy bands, taking inspiration from them (<strong style="box-sizing: border-box;">New Royal Family</strong>). (See also <a href="http://http//www.guardian.co.uk/society/2011/jun/02/music-videos-face-crackdown-sexualised-content" style="box-sizing: border-box; color: #64425b; text-decoration: none;">The Guardian</a>.)</div>
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<strong style="box-sizing: border-box;">Reasons to be cheerful</strong></div>
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It’s time to shout loudly about “the little indie bands” – they’re out there making the big differences, with regard to the representation of women in music videos, because thanks to technology and savvy they are not so little anymore. Even better, they’re often unsigned and free to self-promote on YouTube, MySpace, Facebook and others – able to enter competitions and take part in specialised events and festivals. Trailblazers are undoubtedly bands like <strong style="box-sizing: border-box;"><a href="http://www.letigreworld.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="le Tigre official website">Le Tigre</a></strong>.<a href="http://www.myspace.com/bikiniriotkill" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Bikini Hill tour dates and info"><strong style="box-sizing: border-box;">Bikini Kill</strong> </a>founder and quintessential Riot Grrrl <strong style="box-sizing: border-box;"><a href="http://www.myspace.com/kathleenhannaisawesome" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Kathleen Hanna on MySpace">Kathleen Hanna </a></strong>formed Le Tigre, another bold, feminist-oriented trio, with filmmaker <a href="http://www.ufilmguide.com/497/sadie-benning/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Sadie Benning, Profile"><strong style="box-sizing: border-box;">Sadie Benning</strong> </a>and zine creator <strong style="box-sizing: border-box;">Johanna Fateman</strong> in 1998. The group also added multimedia and performance art elements to their live shows. Another forerunner in positive women in music videos is <strong style="box-sizing: border-box;"><a href="http://www.myspace.com/ginabirch" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Gina Birch on My Space">Gina Birch</a></strong>, who makes music videos, when not performing in <strong style="box-sizing: border-box;"><a href="http://www.theraincoats.net/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="The Raincoats official website">The Raincoats</a>.</strong></div>
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<strong style="box-sizing: border-box;">Laura Kidd, She Makes War</strong></div>
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<a href="http://www.shemakeswar.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Laura Kidd official website"><strong style="box-sizing: border-box;">Laura Kidd</strong> </a>aka. <strong style="box-sizing: border-box;">She Makes War</strong> is a multi-instrumentalist and vocalist from the UK. She has released two album’s “Disarm” and ‘Little Battles’, encouraging fans to pay for individual tracks, or “pay what you think it’s worth”.</div>
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She Makes War is more of a project for Laura than a band; the visuals being a way of conveying another aspect of the atmosphere created in the music, often giving another version of the song story and using an analogue rather than digital camera.</div>
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For the featured video, ‘Slow Puncture’ she set up a treasure hunt around her favourite pieces of street art in East London and cycled from one location to the next. The idea was that a creature from a previous video, “Let This Be”, had set up the trail of clues to teach her a lesson, giving her the opportunity to realize the value of the things, as opposed to focusing everything being just perfect. Laura is a fan of “letting things happen”, accrediting the raindrops and gazes from passers-by as “happy accidents”.</div>
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<strong style="box-sizing: border-box;">The Hysterical Injury</strong></div>
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<strong style="box-sizing: border-box;">Annie Gardiner</strong>, singer/songwriter and bass player of <strong style="box-sizing: border-box;">the girls are </strong>fave <strong style="box-sizing: border-box;"><a href="http://www.myspace.com/thehystericalinjury" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="The Hysterical Injury Official Website">The Hysterical Injury</a></strong>had the chance to work with Laura, She Makes War, for the recording of live sessions with a kinda super group, which included <strong style="box-sizing: border-box;"><a href="http://www.myspace.com/danajademusic" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Dana Jade Official website">Dana Jade</a>, <a href="http://www.myspace.com/harpistkat" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Kat Arney, Official Website">Kat Arney </a></strong>and<strong style="box-sizing: border-box;"> Milly McGregor</strong> and talks of how conscious Laura was about how they should all be depicted as women in them.</div>
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Annie and Lee Stone (the drummer at the time) directed their own music video for the vital, ‘Three’. High energy, noisy bass, driving drums and slick and clever video – no satisfaction of the gaze, only singer/songwriter and bass player Annie’s legs and feet tap, tap, tapping, the video has huge impact. ‘Three’ was an early release for this fast-growing duo. It actually happened as part of the genesis of the song – the song and video were made together. Annie edited the footage.</div>
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<strong style="box-sizing: border-box;">tUnE-yArDs / Mimi Cave</strong></div>
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<strong style="box-sizing: border-box;">tUnE-yArDs </strong>‘Bizness’ music video was <strong style="box-sizing: border-box;"><a href="http://vimeo.com/littlecave" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Mimi Cave's videos on Vimeo">Mimi Cave’s </a></strong>first experience of directing. An occasional dancer for tUnE-yArDs Merrill, she took the opportunity to explain an idea for a music video which had been brewing in her head. The rest is herstory: a mish-mash of enthusiastic, creative people working for free towards making the ideas a reality and Mimi Cave up for a Young Music Video Director Award. In this instance, it was her experience as a performer and dancer which gave the edge, but the difference came in her bravery and self-belief, along with Merrill being open to embracing the suggestion and her record company being 4AD, a label with a legacy of positively encouraging that sort of collaborative behaviour – the band’s rosta proves it usually results in something amazing.</div>
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<strong style="box-sizing: border-box;">Lucy Thane (otherwise known as Lucy Red Shoes)</strong></div>
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<strong style="box-sizing: border-box;"><a href="http://lucyt.wordpress.com/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Lucy Thanes blog">Lucy</a> </strong>would not regard herself as a music video director, more of a hands-on everything.</div>
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At present film making is on the back-burner as she takes “a long and winding journey through dance and performance and live art.”</div>
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“I utterly consider the representation of women or anyone in my video or anyone in any other medium. Why would you represent anyone in an unconsidered way? Lazy artists should go get a real job.”</div>
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She explains that her approach is to film the reality she see’s, mostly she’s impressed and excited. She looks for strength and innovation in complicated or oppressive circumstances, facing things with creativity, chutzpah, humour, hard work, cooperation, collaboration – find ways through to honesty, community and self-realisation</div>
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“I also don’t see the problems with women’s representation as only a women’s problem, rather a relation between men and women problem or indeed a nation’s problem. How countries treat different kinds of immigrants, religious problems, problematic relations between children and adults, a money marketing advertising late Capitalism problem. Everything is connected… whatever country we were born from it was inside a woman we first grew, we are all women, how we treat women is how we treat ourselves, compassion for all.. and yes I do think that these thoughts can be present in everything we do.” Her video made with <a href="http://www.myspace.com/thedeptfordbeachbabes" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Deptford Beach Babes Website"><strong style="box-sizing: border-box;">The Deptford Beach Babes</strong></a>and Friends is a perfect example of this.</div>
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[vimeo 11803149]</div>
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<strong style="box-sizing: border-box;"><a href="http://www.myspace.com/theduloks" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="The Duloks website">The Duloks</a> / Alex di Campi</strong></div>
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Made on a mere £100 on short ends and borrowed studio time, making the music video for ‘The Lighthouse’ is just the sort of challenge which would appeal to female director, <strong style="box-sizing: border-box;"><a href="http://www.youtube.com/user/alexdecampi" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Alex de Campi, Profile">Alex di Campi</a></strong>, previously from a background in comic writing.</div>
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<strong style="box-sizing: border-box;">The Great Malarkey / Laura Le-Anne Henry</strong></div>
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<strong style="box-sizing: border-box;">The Great Malarkey </strong>chose <a href="http://laurahenry.co.uk/" style="box-sizing: border-box; color: #64425b; text-decoration: none;" title="Laura Henry official website"><strong style="box-sizing: border-box;">Laura Le-Anne Henry</strong> </a>to direct the music video for their first single, ‘Merry Profits’.</div>
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“I had a great deal of fun with the Malarkey video, explains <strong style="box-sizing: border-box;">Laura Henry</strong>. “Alex has a wonderful androgyny which was key to the playful nature of the video, a mischievous wink to music hall and silent film, and a pastiche of influences too numerous to mention here. It was imperative for me that our central character was gutsy and fun, not a gyration in sight, and so much sexier for it. She is simultaneously the storyteller and perhaps an incarnation of the young boy with a debt around his neck, the concept was born from many conversations with Alex herself and an understanding of the darker elements to the lyric, at blissful odds with the melody.”</div>
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Laura graduated from The University of The Arts (LCC) in 2006, with a BA Hons Graphic & Media Design (Moving image). She worked with body>data>space between 2007-2009 on live video and production of video materials for live events, such as the large scale production for the Leftfield Tent at the Glastonbury Festival in 2007 as well as post production, documentation, archiving, promotional graphic design and DVD authorship. She works in the animation field producing pieces that have been screened at the ICA and the Victoria and Albert Museum. She produces visuals for recording artists and events as well as music videos, photography and artist promotional material. For Laura strong women characters and representation are paramount.</div>
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“I wrote my thesis at university on gender performativity in film, so it is a subject close to my heart and constantly influences my work. I am constantly disheartened with the way women are represented in music videos, though sadly never surprised.”</div>
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Independent acts don’t have the background money of a major label to employ a Sophie Muller but if a good music video is all about effective collaboration between the artist and the director, then surely this is the ideal environment for the all-thinking DIY characteristics of indie artists and an up and coming women music video director’s.</div>
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Sharpen those creative teeth and bite the apple.</div>
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Can you recommend any independent band/women director collaborations?</div>
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Would you like to see a regular update and review of women directors and related videos in <strong style="box-sizing: border-box;">the girls are</strong>?</div>
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<strong style="box-sizing: border-box;">Ngaire Ruth</strong></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-4058682410009497572015-05-20T07:17:00.003-07:002015-05-20T07:18:07.877-07:00Independence Originally published www.thegirlsare.com<br />
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NGAIRE RUTH'S MIXTAPE | INDEPENDENCE</div>
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<a href="http://www.thegirlsare.com/2012/05/13/mixtape-independence/199_10771586459_6747251459_403280_7530_n/"></a><br /></div>
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Independence is a favourite word, though entirely ambiguous. Independent from what, whom, why?</div>
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Is it the major labels and all that can go with it? At its worst: insipid pop produced with patronising precision; robbing bands blind, paying large advances and then sending them the bill for things like promotional costs and PR?</div>
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This would mean eliminating, theoretically, <b>Sonic Youth</b> and ‘Kool Thing’ from the playlist: <i>“Are you going to liberate us girls from male white corporate oppression/Don’t be shy/I just want you to know that we can still be friends.</i>” <i>Goo</i>, the album from which the hit single came was their debut release on a major record label (Geffen).</div>
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So – is it society and the way all businesses are run that is to blame, and a very male (banker) attitude which does not consider sustainability or longevity? Or, is it “the little things” from which the need to feel independent and unaffected is a weekly requirement and therefore needs a soundtrack; people and their assumptions; attitudes which often seem unfair and not personal, in fact totally political in a feminist context but aimed personally at you and affecting everything from your freedom to dance like no one’s watching on the dance floor, to walking down the street or your work prospects, even in this <b>girls are</b> case – the right of good child care. Is it the soundtrack to triumph over adversity, co-dependency, unhealthy relationships?</div>
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Actually, when it comes to women and musicality, all these strands together make some rather stunning music – thus our playlist – and even like womanhood itself, or indeed, feminism, the phases of independence and how they are represented by women musicians comes in stages.</div>
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<a href="http://8tracks.com/thegirlsare/the-girls-are-independence"><b>the girls are | Independence</b></a><span class="s1"> (8Tracks)</span></div>
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— — —</div>
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<b>THE “DON’T LET THE BASTARDS GRIND YOU DOWN” STAGE:</b></div>
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<b>1. Ut – ‘</b>Canker’<b><br />
2. Sonic Youth</b> – ‘Kool Thing’<b><br />
3. L7</b> – ‘Fuel My Fire’</div>
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<b>THE “I’M ANGRY AND THAT’S OK” STAGE<i>:</i></b></div>
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<b>4. Throwing Muses – </b>‘Ellen West<b><br />
5. Babes in Toyland</b> – ‘Bruise Violet’<b><br />
6. Bikini Kill</b> – ‘Liar’<b><br />
7. Silverfish </b>- ‘Damn Fine Woman’<b><br />
8. Huggy Bear </b>- ‘Her Jazz’</div>
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<b>THE “FIGHT TO JUST BE YOURSELF” STAGE:</b></div>
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<b>9. Sleater Kinney</b> – ‘Words and Guitar’<b><br />
10. Kenickie – </b>‘I Would Fix You’<b><br />
11. Bjork</b> – ‘Isobel’ (<i>My name Isobel/Married to myself/My love Isobel/Living by herself</i>)<b><br />
12. Jessie J</b> – ‘Who You Are’</div>
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<b>THE “YAY! GIRLS MAKING EXPERIMENTAL” STAGE:</b></div>
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<b>13. Slow Club</b> – ‘Never Look Back’<b><br />
14. Grimes – </b>‘Rosa’</div>
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— — — —</div>
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What tracks would make it onto your ‘Independence’ playlist?</div>
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<b>Ngaire Ruth</b></div>
ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-28564214205090653422015-05-20T07:16:00.000-07:002015-05-20T07:18:27.215-07:00History of Women in Electronic Music I never tire of reading this article from the Synthopia site. Who are the 21st Century heroines? Mica Levi, who is now part of the BBC's new Radiophonic workshop, Stealing Sheep, Roisin Murphy, Grimes, just for starters.<br />
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http://www.synthtopia.com/content/2015/05/15/40-years-of-women-in-electronic-music</div>
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40 Years Of Women In Electronic Music</h1>
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<span class="sep" style="border: 0px; font-family: inherit; font-size: 12.8000001907349px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Posted on </span><a href="http://www.synthtopia.com/content/2015/05/15/40-years-of-women-in-electronic-music/" rel="bookmark" sl-processed="1" style="border: 0px; color: #666666; font-family: inherit; font-size: 12.8000001907349px; font-style: inherit; font-weight: bold; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="8:17 pm">May 15, 2015</a><span class="by-author" style="border: 0px; font-family: inherit; font-size: 12.8000001907349px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> <span class="sep" style="border: 0px; font-family: inherit; font-size: 12.8000001907349px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">by </span><span class="author vcard" style="border: 0px; font-family: inherit; font-size: 12.8000001907349px; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a class="url fn n" href="http://www.synthtopia.com/content/author/admin/" rel="author" sl-processed="1" style="border: 0px; color: #666666; font-family: inherit; font-size: 12.8000001907349px; font-style: inherit; font-weight: bold; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="View all posts by synthhead">synthhead</a></span></span></div>
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<img alt="eliane-radique" class="alignnone size-large wp-image-48212" src="http://i0.wp.com/www.synthtopia.com/wp-content/uploads/2013/03/eliane-radique.jpg?resize=640%2C464" height="464" style="border-image-source: none; border: 0px; height: auto; margin-top: 0.4em; max-width: 100%; padding: 0px; width: auto;" width="640" /></div>
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Avant-garde and outsider arts site <strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">UbuWeb</strong> has shared a 40+ year audio retrospective of women in electronic music.</div>
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<strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Women In Electronic Music 1938-1982</strong>, originally broadcast on April 1, 2010, features the work of Clara Rockmore, Bebe & Louis Barron, Daphne Oram, Delia Derbyshire, Pauline Oliveros, Laurie Spiegel, Eliane Radigue (above), Suzanne Ciani and many others. <span id="more-63874" style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span></div>
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<strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Women In Electronic Music 1938-1982 Part 1:</strong></div>
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Clara Rockmore – Vocalise (Rachmaninoff) (recorded 1987)<br />
Johanna M. Beyer – Music of the Spheres (1938, recorded 1977)<br />
Bebe and Louis Barron – Forbidden Planet / Main Titles, Overture (1956)<br />
Daphne Oram – Bird of Parallax (1962-1972)<br />
Delia Derbyshire – Dr. Who (1963)<br />
Delia Derbyshire – Blue Veils and Golden Sands (1967)<br />
Delia Derbyshire – Ziwzih Ziwzih OO-OO-OO (1966)<br />
Else Marie Pade – Faust and Mephisto (1962)<br />
Mirelle Chamass-Kyrou – Etude 1 (1960)<br />
Pauline Oliveros – Mnemonics III (1965)<br />
Ruth White – Evening Harmony (1969)<br />
Ruth White – Sun (1969)<br />
Micheline Colulombe Saint-Marcoux – Arksalalartoq (1970-71)<br />
Pril Smiley – Koloysa (1970)<br />
Alice Shields – Study for Voice and Tape (1968)<br />
Daria Semegen – Spectra (Electronic Composition No. 2) (1979)<br />
Annette Peacock – I’m The One (1972)<br />
Wendy Carlos – Timesteps (1972)<br />
Ruth Anderson – DUMP (1970)<br />
Priscilla McLean – Night Images (1973)<br />
Laurie Spiegel – Sediment (1972)<br />
Eliane Radigue – Adnos III (1980)<br />
Maggi Payne – Spirals (1977)<br />
Maryanne Amacher – Living Sound Patent Pending: Music Gallery, Toronto (1982)</div>
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<strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Women In Electronic Music 1938-1982 Part 2:</strong></div>
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Monique Rollin — Etude Vocale (1952)<br />
Jean Eichelberger Ivey — Pinball (1967)<br />
Gruppo NPS – Module Four (1967)<br />
Jocy De Oliviera – Estória II (1967)<br />
Tera de Marez Oyens – Safed (1967)<br />
Franca Sacchi – Arpa Eolia (1970)<br />
Sofia Gubaidulina – Viente-non-Vivente (1970)<br />
Beatriz Ferreyra – l’Orvietan (1970)<br />
Suzanne Ciani – Paris 1971 (1971)<br />
Françoise Barrière – Cordes-Ci, Cordes-Ça (1972)<br />
Jacqueline Nova – Creation de la Tierra (1972)<br />
Teresa Rampazzi – Musica Endoscopica (1972)<br />
Lily Greenham – Traffic (1975)<br />
Annea Lockwood – World Rhythms (1975-97)<br />
Megan Roberts – I Could Sit Here All Day (1976)<br />
Laurie Anderson – Is Anybody Home? (1977)<br />
Laetitia de Compiegne Sonami – Migration (1978)<br />
Constance Demby – The Dawning (1980)<br />
Miquette Giraudy (w/Steve Hillage) – Garden of Paradise (1979)<br />
Ann McMillan – Syrinx (1979)<br />
Doris Hays – Celebration of No (from Beyond Violence) (1982)<br />
Brenda Hutchinson – Fashion Show (1983)<br />
Barbara Golden / Melody Sumner Carnahan – My Pleasure (1997)<br />
Joan La Barbara – October Music (1985)</div>
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Hosted by Jon Leidecker and Barbara Golden. See the <strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Ubuweb</strong> <a href="http://ubu.com/sound/leidecker.html" sl-processed="1" style="border: 0px; color: blue; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">site</a> for more music by these artists and others.</div>
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via <a href="http://www.metrotimes.com/Blogs/archives/2015/05/14/prepare-to-blow-your-own-damn-mind-with-ubu-webs-six-hours-of-electronic-music-made-by-women" sl-processed="1" style="border: 0px; color: blue; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">metrotimes</a>, <a href="https://www.facebook.com/KeithMcMillenInstruments/posts/10153232336960985" sl-processed="1" style="border: 0px; color: blue; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">kmi</a></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-34667904463530326992012-08-01T11:47:00.000-07:002015-06-09T05:27:25.489-07:00What to do with a drunken Blog?<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"></span><br />
<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;"><strong>OVERVIEW Summer 2015</strong></span><br />
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</span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 9pt; line-height: 115%;">Helene Cixous says: When you look in to
the mirror who are you? Between your mother and daughters, where are you? What
space is yours alone?" That resonates with me.</span><br />
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</span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 9pt; line-height: 115%;">This Blog reminds me of who I am. Originally, it allowed me to indulge my inclination that there is a gendered language in
music. In truth it's also about my love of DIY music and not women exclusive. It has a strong feminist perspective. I started it in 2011 but circumstances got in the way - some very positive, such as two years at the girls are as Live Editor and producer of the weekly Gig Guide - but mostly you could say that patriarchy got in the way. </span><br />
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 9pt; line-height: 115%;">I write for a wider audience, both as a writer for
<a href="http://www.thegirlsare.com/">www.thegirlsare.com</a> and the app Electronic Sound, also LouderThanWar. I started out at the Melody Maker in 1989. I am a fully qualified teacher and also copy/content edit and proof reader. I have worked in primary education for the last ten years, recently moving on to applying these skills in educational publishing and aiming to move into 16+ teaching - as me, not a template - in turn I hope feeding the beast, that is writing, study, writing, a bit more writing. </span></span></div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 9pt; line-height: 115%;">When I am bored enough I write poems, have a bash at plays and short stories too. </span></span><br />
<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: x-small;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 9pt; line-height: 115%;"><br /></span></span>
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<span style="font-family: 'Microsoft Sans Serif', sans-serif; font-size: 9pt; line-height: 115%;">You can find me on Linkedin. </span></div>
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<br />ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-71235717237886268612012-01-29T14:10:00.000-08:002015-05-20T07:34:34.376-07:00Fancy some sex and rebellion? Review of The Hysterical Injury debut album (released 7 February, 2012)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Hysterical Injury, Dead Wolf Situation LP</td></tr>
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<span style="font-family: Calibri;"><o:p><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;"><strong>The Hysterical Injury</strong> <em>Dead Wolf Situation </em> (Crystal Fuzz label)</span></o:p></span><br />
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<span style="font-family: Calibri;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;"><strong>Album launch gig@</strong> Saturday, 11 February, Green Park Tavern,<span class="uiInlineBlock"><span class="uiInlineBlock uiInlineBlockMiddle"><span class="visible"><span class="fsm fwn fcg"> 45 Lower Bristol Road</span>, <span class="fsm fwn fcg">BA2 3BD Bath, United Kingdom with the talented She Makes War and Klad Hest.</span></span></span></span></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">Let’s make this clear: <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> 1) </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">This review is going to require the use of CAPITALS and <i style="mso-bidi-font-style: normal;">italics </i>in a bid to avoid using </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">exclamation marks, which are entirely UNCOOL and not appropriate for comment relating to a hotly tipped affair like The Hysterical Injury’s debut album.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">2) Riot Pop does not refer to over-excited new bands, equal portion energy, three- chord knowledge and too many ideas. It was true “back in the day. <span style="mso-spacerun: yes;"> </span>Now, only the latter – too many ideas, so little time - remain. Riot Pop, 2012, represents high quality musicality, some mighty fine INDEPENDENT pop songs, the bare bones of them without the cushioning production techniques, sex and rebellion, complete with swirling vocal arrangements, woo-hooo’s and catchy riffs – all of which is a pretty fair description of the songs within <b style="mso-bidi-font-weight: normal;">The Hysterical Injury’s </b><span style="mso-spacerun: yes;"> </span>debut LP, <i style="mso-bidi-font-style: normal;">Dead Wolf Situation</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">The album title instantly brings to mind the image of Roald Dahl’s Red Riding Hood in <em>Revolting Nursery Rhymes</em>, or more specifically, illustrator Quinten Blake’s representation of Red Riding Hood, who sits on a sofa, in a wolf skin coat, pistol in her bloomers.<span style="mso-spacerun: yes;"> </span>This is not to say the prolific songwriter and bass player, Annie Gardiner is likely to adorn herself in fur anytime soon but certainly she IS that little girl, polite, nice, with a big brain and heart to match: combined, a bomb going tick tick tick TOCK.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">There are some truly sexy songs in here, things of beastly beauty, with riffs that rekindle forces not stirred since <b style="mso-bidi-font-weight: normal;">The Butthole Surfers</b> and vocals as pitched-polite and committed as <b style="mso-bidi-font-weight: normal;">Sharon Van Etten </b>or<b style="mso-bidi-font-weight: normal;"> Laura Marling</b>. YES, <i style="mso-bidi-font-style: normal;">in the same song </i>(‘Rainbow Thunderclap’, ‘Bitches Balls’, 'Maths'). Sometimes you can hear Annie’s influences, like <b style="mso-bidi-font-weight: normal;">Throwing Muses</b>, such as in the rolling trip that is ‘Visions of Trees’.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">Reflection and universal understanding are not immediate themes. Like the formidable Slow Club ‘s <i style="mso-bidi-font-style: normal;">Paradise</i><span style="mso-spacerun: yes;"> </span>even songs that sniff of a personal recount, in HI’s case, ‘Cycle One’, ‘The Works’, and which we might all relate to, emerge in to the here and now. BANG.<span style="mso-spacerun: yes;"> </span>Here comes that overwhelming feeling of “the present”; the melodies, energy and <em>belief </em>.</span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">There is no sense to the songs, but you WILL sing-along.<span style="mso-spacerun: yes;"> </span>There is a sense of fury (that's the claustrophia) and points of clarity (in the vocals). Aptly, only ‘Rosetta’s Waves’ makes sense, a song about the forgotten white Gibson 1961 playing, with cranked tube amps, heroine <strong><a href="http://www.premierguitar.com/.../Forgotten_Heroes_Sister_Rosetta_Tharpe...">Sister Rossetta</a></strong> (1940’s-1970’s); a woman who transcended both her race and gender, only to be forgotten in the written records of our blessed rock and pop history. Annie’s moody chant suggests she was CUT out, not forgotten, because would female musicality got there sooner – it’s here, pay attention - if we’d been allowed/introduced to these female icons? Er. YES. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“This is where, where we are/Learn guitar and scream.”<o:p></o:p></i></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">There’s a difference with The Hysterical Injury brother and sister team: Annie’s bass, which fancies that it looks good (it does) in melodies, with hard ball <b style="mso-bidi-font-weight: normal;">Sonic Youth</b> inspired true grit moments (in every song).<span style="mso-spacerun: yes;"> </span>There is no guitar in this band but plenty of musical exhibitionism RECLAIMED. Ms Annie Gardiner works that bass in the way guitar rock stars play, but only in their dreams. It’s likely that after every song they recorded she had to replace strings, plural, and probably by the end of it, had broken the beloved instrument. ROCK AND ROLL.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: Times New Roman;"> </span><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;"><strong>Somebody used to read this girl <i style="mso-bidi-font-style: normal;">The Wild Things</i> at bedtime.</strong></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;">You can buy this album buy following the link <a href="http://thehystericalinjury.bigcartel.com/">here<o:p></o:p></a></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;"><o:p>You can hear and also download, for free, a track called 'Maths' at: <a href="http://bit.ly/himaths">http://bit.ly/himaths</a> </o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;"><o:p>Also see <u>We Made A Mess And We're Not Sorry</u>, interview, in this blog.</o:p></span></span></div>
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<span style="font-family: Calibri;"><span style="font-family: "Microsoft Sans Serif","sans-serif"; font-size: 12pt; line-height: 115%;"><o:p>Read more about The Hysterical Injury at <a href="http://www.thegirlsare.com/">www.thegirlsare.com</a></o:p></span></span></div>
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ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0tag:blogger.com,1999:blog-5558030719653502938.post-51195797242974514902011-12-21T04:22:00.000-08:002011-12-21T04:22:52.932-08:00You can't be a Lives Editor and not catch up with The Calvi, Mercury Prize Nominee<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYHD5p2UytBz8ZqqAylAyIHvXi5yeoFkYomtVtFo6gZE8oNw8TYs_EoCDs7T_9jkqWYdKB8MbIGH7bQKrYT-Q8iNhPAGDIlknKbxnu2yQWf7Qyn7o6oVSqofuPhf14WQgVxMps3gi-ZIQ/s1600/anna-calvi2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYHD5p2UytBz8ZqqAylAyIHvXi5yeoFkYomtVtFo6gZE8oNw8TYs_EoCDs7T_9jkqWYdKB8MbIGH7bQKrYT-Q8iNhPAGDIlknKbxnu2yQWf7Qyn7o6oVSqofuPhf14WQgVxMps3gi-ZIQ/s1600/anna-calvi2.png" /></a></div><strong>Anna Calvi @ Trinity Hall, Bristol</strong><strong><br />
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This is the tour that <a href="http://http//www.annacalvi.com/" title="Anna Calvi Official Website"><strong>Anna Calvi</strong> </a>will look back on, over the years, and highlight as a landmark moment. It’s the one that people will keep referring back to and boast about having been there, over the next decade – and not being able to say that I was there too is unthinkable. If you liked the album you will love the songs live; from the first to the last song Calvi impresses and engages.<br />
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<span id="more-13271"></span>It’s in the detail; the way she wears her guitar high and no doubt the <em>type</em> of guitar she chooses to play with such intricacy and flair – taking her (largely male) influences as tools for her own feminine personal expression. It’s the percussionist, the way she does not so much accompany the melody or add light and shade to a song’s mood, in the traditional sense, but plays the songs too, with an original assemble – which includes that signature harmonium.<br />
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And from the start it’s all about Anna; her poise, a penchant for red and black, and proper songs. Just like the album she opens with ‘Rider To The Sea’, the guitar solo which starts the story oozes eerie imagery; tumbleweed rolls down a dusty, deserted street, people lurk in the shadows of shop doorways. It’s a declaration of musicality and confidence. And the bold set rolls forward in to the next song, ‘No More Words’, also from the album.<br />
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The power of these songs live is unquestionable, which brings a “wow” moment for anyone in the audience who knows the LP. Clever. Calvi has worked hard to show the correct impression of her artistic personality in this set list: calm, harmonious on the surface, with fear and passion beneath – and we’re all buying it. This includes her choice of covers, starting with Elvis, ‘Surrender’, the beautiful fury (and guitar change) for ‘Wolf Like Me’ and ending with ‘Jezebel’, an early Anna Calvi release but a million seller back in the Fifties for Frankie Laine with the Norman Luboff Choir and Mitch Miller<strong></strong>. Lots of references to devils, death and desire in these songs but the art is in the songs, the guitar sound and melody structures, the open hearted-throw-your-head-back vocal choruses. Try not joining in to the chorus of ‘Suzanne and I’ (“Oh, Suzanne!”).<br />
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So confident and composed is her performance, it takes me by surprise every time she smiles and thanks the mighty applause after each song – she clearly seems both touched and secretly relieved. A queen of serene.<br />
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<strong>Ngaire Ruth</strong><br />
<strong>Originally published in <a href="http://www.thegirlsare.com/">www.thegirlsare.com</a></strong>ngaireruthhttp://www.blogger.com/profile/14877158127006690547noreply@blogger.com0