:00:17. > :00:21.This programme contains strong language.
:00:22. > :00:23.At the height of the punk explosion
:00:24. > :00:27.of women redefined what it was to be a female artist and performer.
:00:28. > :00:30.They forced their way on to a largely male-dominated music
:00:31. > :00:33.scene and became part of a movement that radically changed the artistic
:00:34. > :00:36.They came from the squats and suburbs of London
:00:37. > :00:38.and inspired a generation of ordinary young women to believe
:00:39. > :00:42.Along with Siouxsie Sioux, Chrissie Hynde, Poly Styrene, and
:00:43. > :00:44.the Raincoats, the Slits were among punk?s most important figures and
:00:45. > :00:47.Viv Albertine, their guitarist, has just brought out her brilliantly
:00:48. > :00:49.titled memoir ?Clothes, Clothes, Clothes, Music, Music, Music, Boys,
:00:50. > :00:52.It charts her life as part of this cultural revolution.
:00:53. > :00:54.These were female musicians doing it on their own terms.
:00:55. > :01:05.And in doing it their way, they set the
:01:06. > :01:11.The great thing about punk was the fact that I was a girl was no
:01:12. > :01:15.It was a 6 month window where you could sneak in and see
:01:16. > :01:20.You never heard girls until then absolutely bursting with
:01:21. > :01:30.We were trying to cause a bit of mayhem.
:01:31. > :01:43.It was a call for arms for the girls - Amazonian punk women.
:01:44. > :01:47.These women were breaking taboos, shaking up the establishment.
:01:48. > :01:51.But did their revolution last longer than a three minute pop song?
:01:52. > :01:54.Almost 40 years on now, the mainstream has absorbed the shock
:01:55. > :01:59.of these outsiders, can the punk female rebellion still survive?
:02:00. > :02:02.They say little girls should be seen and not heard.
:02:03. > :02:14.But I say ?Oh Bondage! Up Yours!?
:02:15. > :02:20.Honey and Jackie magazines are packed with girls with perfect
:02:21. > :02:23.Charlie?s Angels flicks wearing flares, pinning posters of
:02:24. > :02:38.Legs and Co sashay mumsily to the latest disco hit on Top of the Pops.
:02:39. > :02:44.And lovely David Soul tops the charts.
:02:45. > :02:47.The backpages of the NME sells ?I choked Linda Lovelace? T-Shirts
:02:48. > :02:50.in reference to the famous porn star from ?Deep Throat?.
:02:51. > :02:52.Despite the birth of feminism, for many young women,
:02:53. > :02:56.Seventies Britain isn?t exactly the land of opportunity.
:02:57. > :02:59.But some young women are looking for something more underground.
:03:00. > :03:03.Something that they can make their own.
:03:04. > :03:09.And it?s in small venues like this one all over the country
:03:10. > :03:12.that they get to take centre stage for the very first time.
:03:13. > :03:15.So it was here at the Harlesden Coliseum in London that the Slits,
:03:16. > :03:22.the first all-girl punk band, played their debut gig on March 11 1977.
:03:23. > :03:25.Their chaotic performance and in your face irreverence made
:03:26. > :03:29.a huge impact on many of those who were in the audience that night.
:03:30. > :03:40.What they sang and how they behaved, just spoke to me.
:03:41. > :03:43.Palmolive is beating the crap out of the drums.
:03:44. > :03:50.Tessa all in black. She looks amazing.
:03:51. > :03:54.Ari, more than any of the female performers and maybe even the men
:03:55. > :04:00.It was complete revelation to see them as they were so energetic.
:04:01. > :04:10.It is pretty amazing, No woman had ever done this before.
:04:11. > :04:13.The Slits were at the heart of a fledgling London punk scene
:04:14. > :04:16.which emerged from the clubs and squats of West London.
:04:17. > :04:19.These squats were crash pads and rehearsal rooms where
:04:20. > :04:23.manifestos were thrashed out and punk bands were formed.
:04:24. > :04:29.Punk was a howl of frustration, a visceral reaction to the tedious
:04:30. > :04:32.British establishment and 1970s pop music's overblown pretensions.
:04:33. > :04:36.And anyone could be involved. Initially attention fixed
:04:37. > :04:39.on male bands but women soon elbowed their way to the forefront.
:04:40. > :04:42.Not just as vocalists but as guitarists, bass-players,
:04:43. > :04:51.Viv Albertine, who was also part of this closely knit punk fraternity,
:04:52. > :05:01.Let's talk about the atmosphere around punk.
:05:02. > :05:20.I didn?t know there was this way of being yourself on stage,
:05:21. > :05:23.not caring about your accent, how poor you were where you came from
:05:24. > :05:25.until I saw Johnny Rotten play. That was it.
:05:26. > :05:38.He was as near a girl like me as a boy could be.
:05:39. > :05:43.I got left ?200, the only money I had ever been left
:05:44. > :05:47.in my life, by my grandmother and I thought, I'm going to buy a guitar.
:05:48. > :05:54.Mick Jones was my boyfriend at the time, he said ?great?.
:05:55. > :05:56.I literally couldn't play. I couldn?t hold down one bar chord.
:05:57. > :06:00.And then about a week later I met Sid Vicious in the street and I
:06:01. > :06:03.hadn?t met him before and said ?I?m going to make a band?.
:06:04. > :06:05.He said, ?I?ll be in a band with you?.
:06:06. > :06:07.You were practicing for quite a while with Sid?
:06:08. > :06:10.We did spend the whole summer of ?76, the hottest on record,
:06:11. > :06:12.in Joe Strummer?s basement trying to get a band together.
:06:13. > :06:16.We got used to how it felt to rehearse and turn up every day
:06:17. > :06:19.and then Sid decided I couldn?t play the guitar well enough to be
:06:20. > :06:24.in a band anymore. Even though it was my band.
:06:25. > :06:26.So you joined the Slits. Did you get a confidence
:06:27. > :06:33.When you joined the Slits, it was an all-girl group?
:06:34. > :06:35.I didn't like it being an all girl group.
:06:36. > :06:37.Everyone at the time was against being labelled.
:06:38. > :06:39.Cos we had been labelled all our lives.
:06:40. > :06:41.We were just these useless, poor comprehensive school-educated kids.
:06:42. > :06:47.I said to Chrissie Hynde, who was a friend of mine,
:06:48. > :06:50."Oh Chrissie, I don?t want to be in an all girl band, it?s tokenistic".
:06:51. > :06:53.And Chrissie said to me, ?Oh shut up Viv, get on with it,
:06:54. > :07:09.It was fun, we were all on the same sort of level.
:07:10. > :07:12.I can?t believe how we found each other because even to this day I
:07:13. > :07:15.have never met any other women like the other three Slits.
:07:16. > :07:18.Ari and I especially could write together, which me and Sid couldn?t.
:07:19. > :07:19.He was really crippling to work with.
:07:20. > :07:26.He wanted to write songs about S M and concentration camps.
:07:27. > :07:31.With the girls, I could write a song like Typical Girls and they all
:07:32. > :07:34.understood exactly what I was on about and the pressures of what?s
:07:35. > :07:48.She had an extraordinary mind very different.
:07:49. > :07:52.She pissed on stage, not to be shocking, but because she
:07:53. > :08:04.And she completely liberated me about my body.
:08:05. > :08:08.I learnt a hell of a lot and we translated that back
:08:09. > :08:28.As we very specifically made sure that our voices and backing vocals
:08:29. > :08:32.Again, just like when you shout across a playground,
:08:33. > :08:37.You do know there is massive controversy over the internet
:08:38. > :08:46.Female punks were trailblazers, creating not just
:08:47. > :08:51.their own space but their own kind of music, their own kind of being.
:08:52. > :08:53.They took Malcolm McClaren's manifesto :"Be
:08:54. > :09:01.Be everything that society hates " and created their own style
:09:02. > :09:15.sometimes even their own cartoonish personas.
:09:16. > :09:17.There was 19 year-old Siouxsie Sioux, the girl
:09:18. > :09:21.from the London suburbs whose witch-like look inspired women.
:09:22. > :09:26.And made men feel all sexy and submissive at the same time.
:09:27. > :09:31.Siouxsie was a dominatrix with the three pretty boys
:09:32. > :09:43.She had that whole Clockwork Orange thing going.
:09:44. > :09:53.There was Poly Styrene with her band X-Ray Spex, sporting braces on her
:09:54. > :09:56.teeth and challenging the idea that female performers should be passive
:09:57. > :10:02.Poly Styrene had a major part to play, she was
:10:03. > :10:05.particularly empowering to women that weren?t about looking girly.
:10:06. > :10:17.Poly was a sort of anti-sex symbol - she had braces, she wore a bin bag.
:10:18. > :10:26.It was so liberating for everyone around.
:10:27. > :10:29.Hey, you can just look how you want to and the songs were
:10:30. > :10:35.She sang like no woman had done before.
:10:36. > :10:40.It was a kind of scream, really a scream of desperation.
:10:41. > :10:45.It was all about not being a slave to your desires.
:10:46. > :10:48.Most people associate bondage with sexual bondage.
:10:49. > :10:51.They think it is perverted and think of whips and things like that.
:10:52. > :10:58.And it is against that, saying ?Oh, bondage, up yours?.
:10:59. > :11:08.And Gina Birch and Ana da Silva who were so inspired by the Slits? first
:11:09. > :11:13.gig that they started their own band The Raincoats in November 1977.
:11:14. > :11:18.Within a few weeks they were playing their first gig.
:11:19. > :11:20.The Raincoats preferred ideas to proficiency and counted John Lydon
:11:21. > :11:28.It was all about you putting your own ideas forth
:11:29. > :11:35.wasn?t copying this guitar player doing this solo and lots
:11:36. > :11:48.It was about you bringing what you had to the fore.
:11:49. > :11:51.As well as American Chrissie Hynde, who had dropped out of art school
:11:52. > :11:57.in Ohio and landed in London at the beginning of the punk scene.
:11:58. > :11:59.When people talk about this subject, people forget Chrissie Hynde -
:12:00. > :12:03.you have a woman doing what a woman has never done before, which is
:12:04. > :12:07.When you play with Chrissie, you have to rock .
:12:08. > :12:12.Just as tough as anything men could do.
:12:13. > :12:15.Chrissie?s abilities didn?t go unnoticed by punk impresario
:12:16. > :12:20.She found herself part of a small pool of musicians who went on to
:12:21. > :12:25.He was always trying to nurture me and help me out,
:12:26. > :12:28.which was fantastic because I was always looking up to Malcolm.
:12:29. > :12:33.I was going to play guitar ? just as a boy in the background.
:12:34. > :12:38.Vivienne came down and she was so impressed she went,
:12:39. > :12:42.?Oh Chrissie, you can really squeeze a chord out of that?.
:12:43. > :12:45.They never called me back and the next week there was a new
:12:46. > :12:51.These female performers were standing centre stage and that
:12:52. > :12:55.was very thrilling for young women up and down the country.
:12:56. > :12:58.Also in from America, now renowned photographer
:12:59. > :13:02.Sheila Rock was inspired by punk to pick up her camera and document
:13:03. > :13:07.She was invited to intimate rehearsals and met the artists
:13:08. > :13:14.Like the punks, she was learning her trade as she went along.
:13:15. > :13:18.I just went round photographing what I thought was interesting.
:13:19. > :13:26.I met Siouxsie, Billy Idol and Steve Severin ? the Bromley Contingent.
:13:27. > :13:29.We?ve got a pic of Siouxsie Sioux performing in 1976, definitely
:13:30. > :13:45.Well she had that dominatrix look about her.
:13:46. > :13:52.It is interesting what she is wearing,
:13:53. > :13:56.Did this kind of clothing get a lot of reaction from people?
:13:57. > :13:58.I think the audience were as expressive in their clothing,
:13:59. > :14:01.but because she was very handsome she was just very imposing.
:14:02. > :14:07.But she brought something else to the scene, I think.
:14:08. > :14:15.Not a ?50s sexy - it explores very underground roots
:14:16. > :14:23.and dark deep things young people were wanting to explore.
:14:24. > :14:31.But Siouxsie brought it out in the open, I think.
:14:32. > :14:35.This band was called The Moors Murders and that is Chrissie Hynde.
:14:36. > :14:38.This was Chrissie before she sang, she was writing for the NME.
:14:39. > :14:40.She was the one that invited me to go down.
:14:41. > :14:49.It was near London Bridge and it was just in one of the arches.
:14:50. > :14:52.And I had no idea that she had such an amazing voice.
:14:53. > :14:57.It is interesting that band as well as it is a mixture
:14:58. > :15:06.I asked Jordan if we could photograph her.
:15:07. > :15:12.I thought it would be really good to get this amazing Sex sign.
:15:13. > :15:15.And I just walked across the street and as I turned around.
:15:16. > :15:18.There was this guy wearing bell bottom flares who looks
:15:19. > :15:22.And I thought this was one of those magic moments.
:15:23. > :15:23.His body language is amazing in this.
:15:24. > :15:26.She is relaxed and confrontational and he is simultaneously pervy
:15:27. > :15:31.He is really angry, it is a very interesting reaction to
:15:32. > :15:42.Female punks played around with notions of desire subverting male
:15:43. > :15:46.sexual fantasies through what they wore. They refused to be submissive.
:15:47. > :15:49.They hijacked the perverted. There was something glorious of all these
:15:50. > :15:56.shapes and sizes of bodies strutting the 70s streets wrapped in rubber.
:15:57. > :15:59.Malcolm McLaren and Vivienne Westwood?s shop ?Sex? on the Kings
:16:00. > :16:03.Road experimented with the lexicon of pornography. They stocked fetish
:16:04. > :16:08.wear, slogan T-shirts and the infamous bondage trousers.
:16:09. > :16:12.I had a few of their things. When I went back to Cleveland, Ohio, I had
:16:13. > :16:15.a little rubber skirt and a Scum Manifesto T-Shirt. I felt like the
:16:16. > :16:20.dogs bollocks. I did look cool. Especially in a basement in a Ohio.
:16:21. > :16:23.I didn?t find it intimidating going into Sex. I wanted a specific kind
:16:24. > :16:29.of dog collar, she went, "I?ll make you one." and getting some vinyl
:16:30. > :16:32.trousers from Sex, which was a big deal for me, but they were great and
:16:33. > :16:35.turned out to be very practical coz you just wiped the spit off.
:16:36. > :16:38.Jordan the shop assistant was a living advertisement the power of
:16:39. > :16:41.Sex. She wore rubber clothes, a beehive style and theatrical makeup.
:16:42. > :16:53.first class for her own protection. British Rail even put Jordan in a
:16:54. > :16:56.British Rail knew the trouble that I was going through. At Seaford which
:16:57. > :17:00.is the big terminal where I live they said one day to me they would
:17:01. > :17:03.let me travel first class with my second class ticket every day from
:17:04. > :17:06.Lewis to Seaford because they knew the trouble I was having. So they
:17:07. > :17:11.I used to love PVC and what they used to call in my era 'wet look'. I
:17:12. > :17:15.used to wear a little mac and gloves that matched. It was wonderful.
:17:16. > :17:17.And what was it about Sex that attracted you?
:17:18. > :17:20.I think I was doing a similar thing on my own to what Malcolm and
:17:21. > :17:23.Vivienne were actually aiming for. We were on a parallel course in a
:17:24. > :17:28.way, and I felt very very at home there.
:17:29. > :17:33.I saw myself as a walking work of art. Later on, when I went through
:17:34. > :17:38.the geometric make-up, that was all to do with Mondrian and People of
:17:39. > :17:45.A few people that we?ve spoken to have said when they went in to Sex,
:17:46. > :17:49.they were quite intimated. Why do you think that was?
:17:50. > :17:52.For Vivienne used to grill people. "Why do you want to buy this?"
:17:53. > :17:54.What happened if someone gave the wrong answer?
:17:55. > :18:02.Sometimes, yes. People were passionate about what they made,
:18:03. > :18:06.what they wore it. Didn?t want twits going out there wearing it for the
:18:07. > :18:11.Would you say that punk was one of the first pop cultures where women
:18:12. > :18:15.could appear threatening in that way?
:18:16. > :18:19.I would say probably yes. It was a time of sexual equality, but also,
:18:20. > :18:28.women were quite liberated as well. And men and women could look and if
:18:29. > :18:34.you like outdo each other when they went out. Like sharing each other?s
:18:35. > :18:37.make-up. It was a great, great thing really.
:18:38. > :18:41.There is always a kind of ideal woman?s shape that we are given. And
:18:42. > :18:44.women and other punk women, like yourself, didn?t care. There is
:18:45. > :18:47.something very refreshing about seeing women in all sorts of shapes,
:18:48. > :18:50.wrapped in rubber, in ripped T-Shirts walking down the street.
:18:51. > :18:54.There?s something really beautiful in that.
:18:55. > :18:57.It didn?t matter what size you were. How tall you were. It was really how
:18:58. > :19:05.Punk also had its own sexual codes. Despite the rubber clothes and the
:19:06. > :19:10.provocative way of dressing, it was mostly asexual.
:19:11. > :19:16.Sex wasn?t really a feature in the punk thing. I never really
:19:17. > :19:20.got?Some people were getting their end away. You weren?t dressing to
:19:21. > :19:23.attract the opposite sex. You were dressing to tell everyone to go and
:19:24. > :19:29.lock themselves basically. It was a real up yours mentality.
:19:30. > :19:34.As a guy, if you had any intentions, other than intellectual or musical
:19:35. > :19:39.ones, these girls they would sooner cut short because the women just had
:19:40. > :19:42.this attitude that kind of knocked that out of the arena. You didn?t
:19:43. > :19:45.mess with these women. They weren?t girly girls. They would stand eye
:19:46. > :19:48.to eye with you and give as good as they got.
:19:49. > :19:55.Nevertheless for many punk women, the streets became a battleground.
:19:56. > :19:57.Nevertheless for many punk women, Punk invited confrontation and punk
:19:58. > :20:01.women, in their rubber stockings and DMs, often confused middle-aged men,
:20:02. > :20:11.who didn?t know if they were coming or going.
:20:12. > :20:14.Oh, man, did The Slits get hassle. They were physically attacked on the
:20:15. > :20:17.streets literally. You gotta understand that they deeply freaked
:20:18. > :20:21.people out on the psychological level. I mean, on the White Riot
:20:22. > :20:25.Tour we had to bribe the coach driver Norman to allow them on the
:20:26. > :20:28.bus, not because they did anything to him, but he just couldn?t
:20:29. > :20:32.compute, you know, women weren?t supposed to be like this.
:20:33. > :20:36.There were guys just cruising the street, old fashioned, macho guys
:20:37. > :20:39.who were the norm then, just thinking that how you looked you
:20:40. > :20:42.were a prostitute. I got spat at and attacked many times and Ari got
:20:43. > :20:45.stabbed. It was just part of everyday life.
:20:46. > :20:49.The Slits? appearance sparked controversy whatever they were
:20:50. > :20:52.wearing or not wearing. But unlike many other female artists at the
:20:53. > :20:56.time, they remained firmly in control of their image. As they
:20:57. > :21:00.showed when they appeared topless on the cover of their debut album
:21:01. > :21:05.'Cut'. And here they are looking fantastic. Bare breasted defiantly
:21:06. > :21:09.outstaring the camera gaze. This was an amazingly audacious thing to do,
:21:10. > :21:14.few female artists if any had posed topless on their album covers. It
:21:15. > :21:19.caused a big controversy. Rough Trade had a massive argument amongst
:21:20. > :21:22.the staff whether they should stock this album at all. And supposedly
:21:23. > :21:26.one man tried to sue Island Records for crashing his
:21:27. > :21:30.Rolls Royce, when he saw the three Slits bare breasted on a big
:21:31. > :21:36.That just evolved that day. We had a female photographer, Penny Smith,
:21:37. > :21:39.we just got a bit over relaxed towards the end of the day and we
:21:40. > :21:43.just started slopped mud onto us and all that sort of thing. But we were
:21:44. > :21:46.very sure that we had to choose a photo where the look was right,
:21:47. > :21:49.where we looked confrontational and there was no come hither look or
:21:50. > :21:56.earthy, its definitely making a statement because they?re naked, but
:21:57. > :22:00.it is, sort of, not sexy, it?s not objectified.
:22:01. > :22:04.For every image that went out of us, every word that went out about us,
:22:05. > :22:08.we fought and fought and fought. It had to be right because we were
:22:09. > :22:12.redefining how women, girls, were being seen in the media.
:22:13. > :22:16.The Slits cover of 'Cut' marked the height of punk?s exuberance. By the
:22:17. > :22:20.early 1980s, many of the first generation of punk women left the
:22:21. > :22:24.industry as post-punk shifted to new-wave pop.
:22:25. > :22:28.Artists like Ana da Silva, Gina Birch and Viv Albertine made a
:22:29. > :22:34.I think anyone who has been confronted and in aggressive
:22:35. > :22:39.situations for six to seven years non-stop, having to fight and argue
:22:40. > :22:43.all the time your point of view, whether it is with Rastas or A and R
:22:44. > :22:47.man, old boyfriends, new boyfriends, friends who thought that you had
:22:48. > :22:50.changed too much. People in that street, people spitting at you.
:22:51. > :23:02.Seven years of that, I was exhausted.
:23:03. > :23:06.Punk, like all youth movements, was of its generation. Its story has
:23:07. > :23:11.become cultural folklore, so familiar that we forget the shock of
:23:12. > :23:15.its primary revolutionary drive. We can?t believe it was such a
:23:16. > :23:19.threat. It?s been a long time since British rock music has had the whiff
:23:20. > :23:25.Punk attitudes are mainstream now. Even Middle England distrusts the
:23:26. > :23:31.police and politicians. We?re all anti-establishment these days.
:23:32. > :23:35.So did punk women win? After all, it?s no longer shocking to see a
:23:36. > :23:39.woman on stage. But as the mainstream has absorbed these
:23:40. > :23:43.outsiders, the revolution has become commodified. Fetish gear is on sale
:23:44. > :23:46.in the high street, bovver boots are a commercial concern, a sneer in
:23:47. > :23:49.fishnets is a way to make money. When everyone?s selling punk
:23:50. > :23:53.attitude, can it mean anything at all?
:23:54. > :23:58.Now people want the goods. Now people want to be on the cover of a
:23:59. > :24:02.fashion magazine. My policy is if Lemmy wouldn?t do it, don?t ask me
:24:03. > :24:06.If you are a young woman now, dressed in fetish gear, you just
:24:07. > :24:10.think that is sexy, or I am trying to please my man, trying to get
:24:11. > :24:13.attention in the music industry. When we were dressing in fetish
:24:14. > :24:16.gear, it was a political statement. It had never been seen before
:24:17. > :24:21.outside of sleazy bedrooms or magazines.
:24:22. > :24:25.Still, the impact of that brief revolutionary period continues to
:24:26. > :24:29.reverberate. You can see punk in the pioneering artists who came later,
:24:30. > :24:33.rewriting the musical rules and doing what they want.
:24:34. > :24:37.You can see it in the Riot Grrls, who explicitly brought punk and
:24:38. > :24:40.feminism together. And its hiding in Lily Allen?s cheeky lyrics and
:24:41. > :24:48.bursting out of Pussy Riot protests against Putin. Punk even lives on in
:24:49. > :24:52.emerging bands such as Skinny Girl Diet, the excellently named young
:24:53. > :25:02.If you want to say something that?s provocative, if you want to look
:25:03. > :25:06.different, if you want to say something different about sex and
:25:07. > :25:09.gender, then punk is a pretty good place to start.
:25:10. > :25:14.And punk really isn?t dead. It keeps on evolving. Just as the original
:25:15. > :25:19.wild girls of punk themselves, who continue to break new ground.
:25:20. > :25:23.Although kids and life may have taken them away for a time in the
:25:24. > :25:26.last couple of years, tired of being cut off from music, many of the
:25:27. > :25:30.original women have started to write, play and record again.
:25:31. > :25:34.Gina Birch and Ana da Silva are working on their own material and
:25:35. > :25:38.making a documentary about the band. As well as releasing a solo album
:25:39. > :25:41.and writing her memoir. Viv Albertine has made her acting debut
:25:42. > :25:45.in the film 'Exhibition'. And Chrissie Hynde is currently touring
:25:46. > :25:53.the UK with her first solo album, 'Stockholm'.
:25:54. > :25:57.Anyone can start when they?re young and they?re beautiful and they have
:25:58. > :26:00.their youthful exuberance and they don?t have anything else to do, they
:26:01. > :26:04.don?t have to get through the real part of life, which is having a
:26:05. > :26:07.family, paying the bills, getting on with it.
:26:08. > :26:10.To me, life is like challenge, challenge, challenge. Stretch,
:26:11. > :26:13.stretch, stretch. I did have a period where I couldn?t do it. I
:26:14. > :26:16.didn?t have the energy. I was ill. I had my daughter, it all went from
:26:17. > :26:25.me. But it is back now, and that is what I am after.
:26:26. > :26:30.I find that when we?re on stage, that we are kind of ageless or
:26:31. > :26:33.something like that. We have our songs and we go and perform them.
:26:34. > :26:39.If I can see Yoko Ono perform when she?s 82, 83, 84 and think 20 more
:26:40. > :26:46.years! 30 more years, you know, it?s perhaps the time of the older woman.
:26:47. > :26:55.These are grown women, performing and creating as they please. Not
:26:56. > :27:00.just playing the old hits, but writing new songs, about how they
:27:01. > :27:04.see the world, as older women, ex-wives, mothers, artists, humans.
:27:05. > :27:09.And just by doing that, they are breaking some of society?s age and
:27:10. > :27:27.gender phobias. That?s pretty punk to me.
:27:28. > :27:33.# Home sweet home # Home sweet home
:27:34. > :27:36.# I've peeled the potatoes # There's not much left to do
:27:37. > :27:41.# Lovely lemon drizzle cake # Heat the fondue
:27:42. > :27:45.# Tastive quiche with a nice, crispy top
:27:46. > :27:51.# 100 grams of biscuits in a fancy box.
:27:52. > :27:55.# Never try to rule another person's life
:27:56. > :27:58.# You will only lose your lovely fragrant wife
:27:59. > :28:03.# And don't let a guy go changing who he is
:28:04. > :28:06.# You are not a God and it is not your biz
:28:07. > :28:11.# Home sweet home, home sweet home # There's such a thing as lust
:28:12. > :28:15.# There's such a thing as friends # But romantic love was made up way
:28:16. > :28:18.back when # In another century things were not
:28:19. > :28:25.so great # Same thing with marriage, it's an
:28:26. > :28:30.unnatural state # I chose being an artist over being
:28:31. > :28:34.a wife # Now I'm going to lead a lovely
:28:35. > :28:37.life, life, life # Wife, wife, wife
:28:38. > :28:45.# Life, life, life # Wife, wife, wife
:28:46. > :28:51.# I hate my beautiful, clean, white, pristine, minimal
:28:52. > :28:53.# Home sweet home # Home sweet home
:28:54. > :29:06.# Home sweet home # Mummy, mummy
:29:07. > :29:13.# Baking, rubbing, chopping, baking, running, shop, chop, clean, bake...
:29:14. > :29:24.# When Barbara and I
:29:25. > :29:26.started the Review, we were seeking to examine
:29:27. > :29:29.the workings and the truthfulness
:29:30. > :29:33.of establishments. Albatross?
:29:34. > :29:39.There it is. The albatross. The albatross is going to need
:29:40. > :29:45.a hair-styling. A thrilling tale of double agents
:29:46. > :29:50.and a man on the run.