The book argues that the “punk purists” are wrong to believe that punk died at the end of the 1970s and that it has remained important, especially to women. I confess that, as someone who came of age in the first punk movement of 76–77, I have been one of those purists. Partly that was because the second wave of punk in the UK seemed so conformist and, it has to be said, so male: elements that seemed counter to the original spirit of rebellion and liberation.
But you are never too old to learn from younger people, as I’ve found from reading this book. Tie presents punk as a continuum, with a series of waves that have continued to the present day. And she argues – backed up by quotes from fans – that it has always been relevant to women.
For much of the time, the book looks across the Atlantic. First there’s the US hardcore scene, then Riot Grrrl. As the years move on, punk as a genre becomes less clear-cut: Tie describes the pop-punk boom of the late 90s and the cultural appropriation of the punk image in mainstream pop and rock. But as we travel through the 21st century, punk becomes more authentic again as hard times call for a radical response.
This is a useful companion to Vivien Goldman’s 2019 book Revenge Of The She-Punks. While that book focused on women musicians, this is about the fans: people who, like the author, can say “Punk changed my life.”
Tie has interviewed many women for the book, from several generations. Most are from the UK, some from the USA or Europe. Insights from these interviewees punctuate a social history of UK and US punk movements of the last 50 years. The relationship between audience and music-makers is one aspect of the story. Another is the relationship between art and activism, which raises some interesting questions.
I’ve noticed a tendency in the 50th anniversary discussions to present the 1970s punk movement in the UK as primarily politically inspired, but that’s not how I remember it. The reality on the ground was more complex. (As John Robb points out in his new book Punk Rock Ruined My Life, punk was full of contradictions.) And, as this book shows, it has remained complex.
When Tie discovered punk as a teenager in the 1990s, she interpreted “punk rock philosophy” (the title of her blog) as a progressive outlook that took in “social justice, gender politics, anti-capitalism and animal rights”. The fact that this list didn’t always include feminism was something of an eye-opener.
That tension permeates this history. There was a strong activist element to 1980s hardcore but those on stage were nearly all male. And moshpits were often not a safe place for women, hence the Riot Grrrls’ call for “Girls to the front”.
The feminist Riot Grrrl movement in the US was inspiring, but by the time it reached the UK it had become packaged as a media novelty. By the end of the century, pop-punk, nu metal and “alternative” rock were apolitical and mainstream, with sexist attitudes that reflected mainstream culture. The music didn’t have much space for women as anything other than the girlfriend or the fan. (And emo, notoriously, was worse.)
As the story moves into the new millennium, the book reflects on misogyny, microaggressions and the MeToo movement. Not to mention the perennial issue of sexual harassment and assault at gigs.
But despite the lack of integrity among some in punk-adjacent music scenes, women have continued to make and listen to punk – because it still spoke to them. And now it’s become political again.
In the present day, there is a rise of feminist activism in music that reflects fourth-wave feminism: overtly political songs, benefit/awareness-raising gigs and projects to get more women making music.
Finally, the story returns to the UK, where initiatives like Loud Women and the Unglamorous Project/Riotous Collective make spaces for women to make music for themselves. Some of them are even as old as the original 1970s punks, bringing the story full circle.
It’s refreshing to read a book about punk that puts women’s voices in the centre, and makes the point that we, too, are part of the story. As Tie states at the close of the book: “The extent to which punk engages with feminism may not be consistent, but what has been consistent is women’s efforts to take a piece of punk for themselves and have their voices heard.”
And as one of her interviewees describes it: “At the heart of it, punk is about responding to and challenging the status quo. What’s more feminist than that?”
More info
I'm appearing with Molly Tie at a panel event about Women and Punk at the Louder than Words festival on 14th November.
Buy Rebel Grrrls from my Bookshop.org shop (affiliate link)
This review first appeared in Louder than War.
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