Studies in Popular Music
2 total works
In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bassplayers, keyboardplayers and drummers playing in bands. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock ('anybody can do it!') and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences. Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record.
In the late 1970s and early 1980s a new phenomenon emerged in UK popular music - female guitarists, bass-players, keyboard-players and drummers began playing in bands. Before this time, womenOCOs presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about by the enabling ethic of punk rock (anybody can do it!) and by the impact of the Sex Discrimination Act. With the demise of the punk scene, interest in these musicians evaporated and other priorities became important to music audiences. This book investigates the social and commercial reasons why these women became lost from the rock music record, and rewrites this period of popular music history."