An assault on an all female band by a member of security staff at this weekend’s Undercover punk festival in Brighton has brought the online mansplainers and slut shamers out of the woodwork. It also raised some issues that need to be resolved, some feel new, some are as old as punk itself. Can women make a new space in a scene and politicize it from within ? Is there ever a way to reconcile the punk politics of the past, and the intersectional politics of the present? Can we actively build a politics where race, gender, age and subcultural identity intersect ?– the answer, it seems to me, to all of these questions is the same; not really, no. Continue reading Your punk politics will be privileged, or it will be bullshit
I’ve just got back from the most mind-blowing conference I’ve ever been to. Keep It Simple, Make It Fast, is a conference/music and literary festival/art show organised around DIY cultures, Spaces, Places. Events were held across various venues in Porto, bringing together academic presentations, some celebrity guests, live performances, exhibitions with daily book launches and a summer school. The event is convened by Paula Guerra and Andy Bennett with an incredible team of international volunteers. I went with my Subcultures Network army (Matt Worley, Petes Webb and Ward, David Wilkinson and stayed in a seminary with the Punk Scholars Network and Steve Ignorant from Crass).
Contemporary historian Lucy Robinson has spent the last five year’s listening to, writing about and thinking about charity singles. From Oxfam’s association with the Beatles in the 60s, to ‘Do they Know its Christmas?’ in all of its various incarnations, the charity single has turned fans into communities, and allowed over indulgent celebrities to show their caring side. Now finally her work has come to life in a brand new charity single. She has been volunteering her expertise as Minister for Nagging in the newly launched People’s Republic of Brighton and Hove.
When we began the Brighton hub of Wellcome’s sexology and Song-writing project we imagined that the young women involved would undertake some sort of original research and then write songs about it. It quickly became clear that the young women participants and the youth work and music practitioners had some different priorities. The practitioners wanted to concentrate on building a secure and supportive environment in which to build a collective group identity, and the young women wanted to sing songs that they already knew and liked. The young sexology song-writers didn’t want to write songs. They wanted to cover and recover them. Once we recognised that the priorities of the practitioners and of the young women needed to be our priorities too, we moved towards their goals. We weren’t training them to be researchers. They were training us in their modes of re-enactment: an active and creative intervention in a cultural circuit that brought together the legitimacy of publicly celebrated singer-songwriters, with their own experiences and voices.
I’ve spent a lot of the last five years living with One Direction. For a while, most conversations with my daughter involved The Boys in some way and a life size Harry Styles greets you from the front window of my house.
The Boys have even joined us on a picket line. They opened up the chance for me to work academically with one of my favourite people in the world, documentary maker Daisy Asquith who made the Channel 4 documentary Crazy About One Direction. Between the two of them my daughter and Daisy have helped me connect my feminism with my love of fandoms.
I have a lot to thank The Boys for.
Doctoral researcher Laura Cofield and I have just returned from a research trip to New York in order to scope the Riot Grrrl Archive in the Fales Library. There are hundreds of different zines in the archive across 18 individual collections that cover the years 1974-2003. The trip was funded by the Santander Mobility Fund and set up by Simone Robinson, Tracey Wallace and Paul Roberts from the Doctoral School at Sussex.
Laura’s in the first year of her doctoral research looking at the c20th and c21st history of pubic hair removal as a way into women’s experience of their bodies and the relationship between pornography and feminism. Laura and I were totally inspired by our visit. Everyone was incredibly helpful, going out of their way to help us, from Anthony on the desk at Gem hotel Soho who filled us in on a quick history of the queer politics of Wonder Woman, to Campbell the security guard at Fales who not only recommended where we should get lunch, he rang ahead and made sure we would get in, to Marvin Taylor the Fales Archivist who shared his prize acquisition of a set of homoerotic photographs from 1905 with us. But to top it all off Steve Haugh was our Angel of New York and toured us round Manhattan in his beautiful Jag.
I was part of a panel discussion on fans and music documentary at this year’s Sheffield Documentary Festival. The panel was organised by Emily Renshawe-Smith. We discussed work by Daisy Asquith (Crazy About One Direction), and Nick Abrahams (The Posters Came from the Walls) and Jeanie Finlay Orion: The Man Who Would be King. If you stick with it, you can hear me have a bit of a debate with the one and only Peter York.
This post was a response to a number of conversations, conferences and social situations which have turned into something of an obsession – just why are people so sniffy about music that girls like?