La vendetta delle Punk by Vivien Goldman

They were good rockers but, musically, they styled themselves after the very lads who were trying to block us.

Prior to punk, with its passport to a new normal for guys who wore kilts and girls who didn’t look like Stevie Nicks or Karen Carpenter, we could only look to Heart and Suzi Quatro. When I started writing in the rock press in the mid- 1970s, girl musicians were so rare that, in what may have been the first Women in Rock article, I described a long-haired female guitarist as if she were a unicorn. They could be mixed-like the Slits with their boy drummer, Bruce Smith- but the crucial difference was that females were doing the hiring. And it took a volcanic social eruption to propel women into their own bands. Punk was born in violent times, though less violent than now. But punk wins because it is the simplest to master… uh-oh, there goes that loaded English language again! So if we still have to armbend English to express ourselves freely (hello, Midwest Wimmin’s Festival!), how much more did first generation punkettes, my generation in fact, have to (wo)manipulate our society to get heard at all? Resistance to our existence was an acknowledged fact of life. Punk is now acknowledged as the global music of rebellion, alongside hip-hop and reggae. Why is a comparison to our vaginas not considered a compliment? Dunno, but try asking some dickhead who won’t book your female band on his festival bill because “we’ve already got our girls.” Because some of the best words to describe our female punks are phallocentric: “spunky,” “ballsy.” Start calling us “cunts” or “pussies,” though, and it won’t go down so well. So loaded towards males is the English language, though, that we may have to reinvent our whole vocabulary.

La vendetta delle Punk by Vivien Goldman