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