The Lost Women of Rock Music

Zusatztext '... an entertaining and important book...' Mojo '... a fascinating social and cultural history... ' Popular Music Informationen zum Autor Helen Reddington is from the School of Social Sciences, Media and Cultural Studies, at the University of East London, UK. Klappentext In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players 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. Zusammenfassung In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard players and drummers playing in bands. This book investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods. Inhaltsverzeichnis Contents: Introduction; A ladder through the glass ceiling?; Media gatekeepers and cultural intermediaries; The Brighton scene; Noise, violence and femininity; The aftermath; The social context: academic writing on subcultures, the rock press and 'women in music'; Conclusion; Appendix; Index.

Autorentext

Helen Reddington is from the School of Social Sciences, Media and Cultural Studies, at the University of East London, UK.

Klappentext

In Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players 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.

Inhalt

Contents: Introduction; A ladder through the glass ceiling?; Media gatekeepers and cultural intermediaries; The Brighton scene; Noise, violence and femininity; The aftermath; The social context: academic writing on subcultures, the rock press and 'women in music'; Conclusion; Appendix; Index.