Women have made significant contributions to punk rock music and its subculture since its inception in the 1970s.[1][2] In contrast to the rock music and heavy metal scenes of the 1970s, which were dominated by men, the anarchic, counter-cultural mindset of the punk scene in mid-and-late 1970s encouraged women to participate. This participation played a role in the historical development of punk music, especially in the US and UK at that time, and continues to influence and enable future generations.[3] Women have participated in the punk scene as lead singers, instrumentalists, as all-female bands, zine contributors and fashion designers.[4]
Rock historian Helen Reddington wrote that the popular image of young punk women musicians as focused on the fashion aspects of the scene (Fishnet stockings, spiky hair, etc.) was stereotypical. She states that many, if not all women punks were more interested in the ideology and socio-political implications, rather than the fashion.[5][6] Music historian Caroline Coon contends that before punk, women in rock music were virtually invisible; in contrast, in punk, she argues, "It would be possible to write the whole history of punk music without mentioning any male bands at all – and I think a lot of [people] would find that very surprising."[7][8]
Johnny Rotten wrote that "During the Pistols era, women were out there playing with the men, taking us on in equal terms ... It wasn’t combative, but compatible."[9] Chrissie Hynde echoed similar sentiments when discussing her start in the punk scene, "That was the beauty of the punk thing: sexual discrimination didn't exist in that scene."[10] The anti-establishment stance of punk opened the space for women who were treated like outsiders in a male-dominated industry. Sonic Youth's Kim Gordon states, "I think women are natural anarchists, because you're always operating in a male framework."[11] Others take issue with the notion of equal recognition, such as guitarist Viv Albertine, who stated that "the A&R men, the bouncers, the sound mixers, no one took us seriously. So, no, we got no respect anywhere we went. People just didn't want us around."[12][13]
- ^ Coon, Caroline (1977). 1988: The New Wave Punk Rock Explosion. London, England: Omnibus/Hawthorne Books. ISBN 978-0801561290.
- ^ Berman, Judy (8 August 2011). "15 Essential Women Punk Rock Icons". Flavorwire. Retrieved 25 November 2015.
- ^ "Why Women in Punk?". Women in Punk. Punk77.co.uk. Retrieved 26 November 2015.
- ^ Raha, Maria (2004). Cinderella's Big Score: Women of the Punk and Indie Underground. New York City: Seal Press. ISBN 978-1580051163.
- ^ Reddington, Helen (2012). The Lost Women of Rock Music: Female Musicians of the Punk Era. Ashgate/Equinox Publishing. ISBN 978-1845539573. Retrieved 26 January 2022.
- ^ Woronzoff, Elizabeth (19 August 2012). "'The Lost Women of Rock Music' Is an Important Work, But a Replay of the Same Old Themes". Pop Matters. Retrieved 26 November 2015.
- ^ Conference proceedings (September 2001). "No Future?". University of Wolverhampton.
{{cite news}}: CS1 maint: numeric names: authors list (link) - ^ Reddington, Helen (1977). Introduction: The Lost Women of Rock Music (PDF). London, England: Ashgate. ISBN 9780754657736. Archived from the original (PDF) on 7 December 2015. Retrieved 26 November 2015.
- ^ Lydon, John (1995). Rotten: No Irish, No Blacks, No Dogs. London, England: Coronet. p. 378. ISBN 978-0312428136.
- ^ George-Warren, Holly (13 November 1997). "Q&A: Chrissie Hynde". Rolling Stone. Retrieved 22 December 2015.
- ^ Hall, Rock. "Women Who Rock: 10 Essential Punk Songs". The Rock & Roll Hall of Fame Museum. Retrieved 27 November 2015.
- ^ Petridis, Alexis. "The Slits' Viv Albertine on punk, violence and doomed domesticity". The Guardian. Retrieved 27 November 2015.
- ^ Andrews, Charlotte Richardson (3 July 2014). "Punk has a problem with women. Why?". The Guardian. Retrieved 27 November 2015.