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The Routledge Companion to History and Heritage

Sarah Baker, Catherine Strong, Lauren Istvandity, Zelmarie Cantillon

Gendered narratives of popular music history and heritage

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315299310-3 Rosa Reitsamer Published online on: 16 May 2018

How to cite :- Rosa Reitsamer. 16 May 2018, Gendered narratives of popular music history and heritage from: The Routledge Companion to Popular Music History and Heritage Routledge Accessed on: 30 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315299310-3

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 1993, DeNora 1995). As several feminist scholars have demonstrated, women were rarely accorded 1993, DeNora1995). Asseveralfeministscholars havedemonstrated,womenwere rarelyaccorded the maleartistas‘genius’and thesoleandprivilegedoriginatorofartisticwork(e.g.Wolff developed throughoutthenineteenth centuryandsignificantlycontributedtotheestablishment of musicians wereevaluated.Stemming fromRomanticism,the‘ideologyofautonomousartist’ mous artist’anditbecamethe dominantstandardbywhichotherpopularmusicalforms and Regev (1994)notes,thispractice ofhistory-makingisinformedbythe‘ideologyautono as ‘greatartists’andtheconsecrationoftheirsongsalbums as‘masterpieces’(Regev1994).As the USAandUKinlate1960s1970shasinvolved celebrationofcertainperformers The historyofrockmusicasitwasformulatedbywhitemale musiccriticsandrockhistoriansin heritage thatrecognisesfeministandqueermusic-makingin thepastandpresent. Huber 2013) and show how these archives construct and continue to negotiate a popular music archivists. Iconsiderfeministonlinemusicarchivesasexamples of‘DIYinstitutions’(Bakerand ments offemaleperformers. women frompopularmusic’spastwiththedisplayofexhibitions,whichcelebrateachieve magazines and highlights how the museum sector has recently sought to redress the exclusion of rock heritageprojects.Thesecondpartaddressesthediscourseabout‘womeninrock’music as rawmaterialbymusicandmediaindustriesfor(re)producingmarketingmale-dominated nition ofrockasamaleart.Ialsoshow how thecanonof‘important’recordingartistsisused and specificcriteriaforattributinghistoricalimportancetoperformerswhichreinforcedadefi critics androckhistoriansdeployedparticulardiscoursesfortheformulationofahistory history andheritageprojectscametoexcludewomen.Myanalysisshowsthatwhitemalemusic chapter aimstoshedlightontheseissues.Thefirstpartconsidershowtheestablishedrockmusic are significantlyunderrepresentedinthediscoursesonpopularmusichistoryandheritage.This all-time-greatest lists,likemostpopularandacademichistories,teachusthatfemalemusicians Apart from‘Thetop5greatestfemalerockersyou’veneverheardof’,thepopulargenreof Finally, Iexaminethepracticesofhistory-andheritage-making deployedbyfeministmusic OF POPULAR MUSIC HISTORY GENDERED NARRATIVES AND HERITAGE Constructing ahistoryofrockmusic Rosa Reitsamer Introduction 3 26

- - - Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 to malemusicianssincetheyobtainfewerindustryresources(Bayton1998)andtheirbodies popular musicgenresingeneral(Whiteley2000).Theircareerstendtobeshortercompared commercial successnotonlyinmale-dominatedstyleslikerockmusic(Kearney2017),but levels ofthemusicbusiness(Negus1992).Asaresult,femalemusicianshaveachievedlimited and,likeinbusinessgeneral,menarepredominantatthecreativeandexecute Moreover, traditional ideologies of gender shape the working practices within the popular were marginalisedandexcludedfromthecanonof‘great’composers(Citron1993). the status of ‘great artist’ in and other fields of ‘high culture’ and subsequently they limited output (Sanjek 1997). Barbara Pittman,WandaJackson orJanisMartinwhorecordedalbumswerebelittledfortheir were seenastheprimarysource ofevidencemusic-making.Femalerockabillysingerssuch as torical periodsdidnotmakearecord andasaresultwerenotconsidered‘artists’sincerecordings artists (Sanjek1997,Keightley 2001). Manyfemaleperformersinthe1950sandsubsequent his lasted from1955toaround1958, wasgenerallyperceivedasaperiodwithoutany‘great’female from 1976 to 1979 (e.g. Patti Smith, Chrissie Hynde). The ‘moment’ of rock’n’roll, which making’, namely‘thesixties’from1964to1972(e.g., CaroleKing)andpunk designated bycriticsandhistoriansinthe1970s1980sas ‘momentsof“authentic”music- Regev 1994, vonAppen and Döhring2006)usually forged their careersinperiodswhich were The fewwomenincluded in whatbecamearelativestable canon of ‘great’ rock musicians(see artists whoachievedgreatcommercialsuccessorwerewell received bycriticstendtoappear’. timespan ‘necessitatestheomissionofmanyartistswhoappeared inearlierpolls. Stone followed byall-time-greatestlistswhichwereintroduced musicmagazinessuchas most acclaimedmusicians.Anextsiftingofmusicianstakesplace forretrospectivesofadecade, of siftingoperatesinstages.Anend-of-the-yearpollmight include thebiggestsellersand clearly identifiablecollection’(Leonard2007b,p.29).AsLeonard(2007b)states,thisprocess of ‘great’rockmusiciansbysiftingthelargenumberpastrecordreleases‘intoaknowableand Etta James,Madonna,LizPhairandMaryJ.Blige. include, amongothersingers,ArethaFranklin,JoniMitchell,CaroleKing,LucindaWilliams, professional musicians,managers,producers,critics,historiansandprominentindustryfigures autonomy andcreativity.Thefemalesolomusiciansselectedbytheexpertpanelofnearly300 to traditionalnotionsoffemininityandmasculinitypositionwomenassubservientmale artists byforegroundingtheirsupposeddependencyonothers,usuallymen,butalsorefer justify theirinclusioninthecanon.Insodoing,criticsdownplaynotonlyagencyoffemale figures. Female musicians’ abilitytoexpress‘authentic’emotionsintheirsongsisstressed success offemaleperformersisoftenattributedtothetutelagemalemusiciansorindustry albums as ‘art’ and ‘masterpieces’, as ‘pioneering’, ‘genius’, ‘inventive’ and ‘revolutionary’. The They foundthathistoricalimportanceismoreoftenattributedtomenbydescribingtheir deployed bycriticstojustifytheinclusionofindividualperformersandgroupsincanon. and Faupel’s(2010)analysisofthereviewsthese500albumsshowsgenderedstrategies artists orall-femalegroups,and47mixed-gendergroupsmostlywithfemalesingers.Schmutz published by this marginalisationofwomen.Forexample,thelist‘The500GreatestAlbumsAllTime’ record encyclopaedias, record guides and so on, music criticsand rock historiansreproduced Articulating theclaimthatrockis‘art’and‘serious’inmusicmagazines,booksonhistory, and sexualityareforegroundedinsteadoftheirmusicalachievements(Davies2001,Lieb2013). The marginalisation of women has continued in the field of popular music production. The processoflistmakingwasintroducedbycriticsinthe1970swhoconstructedacanon intheearly2000s.Leonard(2007b,p.29)arguesthatapoll thataimstoreviewalarge Gendered narratives of popular music history and heritage magazinein2003includesalbumsby415maleartists,38female 27 . . [and]only Rolling - Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 between theendofrock’n’rollera,circa1958,and1964,yearwhenTheBeatles of thewrittenhistoriesrockandpopularmusic.Keightley(2001)arguesthatinyears to the1980sresultedinerasureofmanyfemaleandAfrican-Americanartistsfrommost UK ingeneral.Theywrite: point tothisfactaswell thepredominanceofwhitemalemusiciansfromUSA and Appen andDöhring’s(2006) analysis of38lists‘The100greatestalbumsalltime’ type and theiralbumscomprisea major partofthecanon‘authentic’classicrockmusic. Von and early1970s(e.g.TheBeatles, theRollingStones,TheWho,BobDylan,JimiHendrix) of ‘greatartist’wasaccordedtonumerousmaleperformers and rockgroupsofthelate1960s workplace, theywereoverlookedwhenitcametoconsecration inhallsoffame.Thestatus women seldomplayedtheelectricguitar,startedbandsor used therecordingstudioastheir of the sonic packagewhichisthesong’(Regev1994,p.95).Since,in1960sand1970s, other instrumentsandtousethestudioas‘aworkplacefor carefulandrefinedconstruction was primarilymeasuredbytheirabilitytocreateadistinctive soundwiththeelectricguitarand rock historiansfortheevaluationofmusiciansandtheirworks. The‘greatness’ofmusicians technology alsoinformedthedefinitionof‘authentic’music-making deployedbycriticsand reinforced asmasculine’(Leonard2007b,p.63).Theassociation betweenmasculinityand the powerrelationsinmale-dominatedrecordingstudios where‘thepracticeofrockis ween masculinityandtechnologyshapesthegendereddynamics ofrockculture,including woman andtechnology’(Green1997,p.29). affirm ‘theunsuitabilityofanyseriousandlastingconnectionsbetweenwomaninstrument, culine. Themajorityofwomenthusremainedsingersandsinger-songwriters,whichtendedto as well as the guitar posesperfectedby the earliest guitar ‘heroes’, quickly becamecodedas mas didn’t pickuptheelectricguitarbecauseinstrumentitselfandtechnicalskillsinvolved, guitar inthe1960scontributedsignificantlytoriseofwhitemalerockgroup.Women artistic endeavour’(Regev 1994, p. 95).Bayton(2011)hasshown how the arrival of the electric negation, andontheotherhand,withworkinrecordingstudio,whichwasperceived‘asan sound oftheelectricguitar,that,inturn,wasinterpretedasexpressionrage,angerand associated, ontheonehand,withcreationofelectricsound,especiallydistortedandloud music-making. AsRegev(1994)suggests,‘authentic’music-makingatthistimewasprimarily contributions toearlyrockhistory,butalsoonthemasculineunderstandingof‘authentic’ music-making’. white BritishandAmericanperformersgroupsintroducedthenext‘momentof“authentic” rock’n’roll torock(Keightley2001,p.116),andledtheviewthatmale,predominantly past, ignoringthecontributionsoffemaleandAfrican-Americanartistsinmovementfrom towards maleperformerswasbasedonanotionofrockasrevolutionaryrupturewiththe and BuddyHollyRitchieValensinaplanecrash(Sanjek1997,Keightley2001).Thebias ence. Rock’n’rollhadlostitskeymalefigures:ElvisPresleyinthearmy,ChuckBerryprison arrival ofTheBeatlesintheUSAasperiodwhenrock’n’rollsufferedanear-deathexperi dismissed the music of these artists because they saw the years betweenElvis Presley and the with thecreationofnewsoundsandanincreasingpresenceincharts.Manyrockhistorians rhythm andbluesperformers(e.g.RuthBrown,ChubbyChecker)forgedsuccessfulcareers The Ronettes),femalesolosingers(e.g.BrendaLee,ConnieFrancis)andAfrican-American numerous othermaleBritishgroupsarrivedintheUSA,severalgirl(e.g.TheShirelles, This taken-for-grantedperiodisationofrockmusichistoryinthreehistoricalperiodsup As Cohen(1991),Bayton(1998)andLeonard(2007b)haveshown,theassociationbet­ The constructionofmalerocklineagethusrestsnotonlyontheforgettingwomen’s Rosa ReitsamerRosa 28 - -

Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 re-positioned byemergingdiscoursesof‘rockasheritage’(Bennett2009).Thisdiscoursewas of ageingbabyboomers,certainmalerockmusiciansthelate1960sand1970swerefurther In thelate1980s,whenmusicandmediaindustriesincreasinglysoughttotargettastes lished narratives with the display of group exhibitions entitled ‘Women Who Rock: Vision, industries, significantlyshapes thememoriesofpopularmusicaudiences. rock musichistoryandheritage projects,legitimisedandmarketedbythemusicmedia p. 400).Strong’sstudydemonstrates howthe marginalisation and exclusion of womenfrom contained, whilethe“”labelisreinscribedasaformof “masculine”rock’(Strong2011, was away‘toallowthethreatbeingposedtopatriarchalrelations tobecompartmentalizedand formers havebeeneitherforgottenorrelabelledas‘RiotGrrrl’. Shearguesthatthisrelabelling Australian grungefansintheearly2000s.ApartfromCourtney Love,allthefemalegrungeper p. 35,Davies2001).Strong(2011)hasexaminedhowgrunge musiciansarerememberedby history ofrockmusicwereignoredandhaveremainedas‘fads andfashions’(Leonard2007b, rock performersasaperpetualnovelty,thecontributionsmade bywomenmusicianstothe is usedtodefusethethreatthatthesewomenposerock’s masculinity.Bydepictingfemale visibility offemalerockartists,but,asKearney(1997)points out,the‘womeninrock’label and Riot Grrrl bands as the ‘new wave’ of ‘women in rock’. These articles heightened the 1990s sawanexplosionofarticlesinmusicmagazinesthat heralded femalegrungemusicians Olympia, Washington,USA.Asseveralfeministscholarshaveobserved,thebeginningof Dresch), fanzinewriters,concertorganisersandindependentrecordlabelowners,emergedin Riot Grrrl,acollectiveoffeminist/queerpunkbands(e.g.BikiniKill,Sleater-Kinney,Team rock bands(e.g.Hole,L7,BabesinToyland,TheBreeders)weresignedbymajorlabels,and of punk,anditwasreinforcedintheearly1990sasseveralfemale-centredgrungepunk the sametimeasvisibilityandimportanceoffemaleperformersincreasedwithadvent excluding theworkoffemaleperformersfromcanon.Thisstrategywasintroducedaround Grouping femaleperformerstogetherunderthelabel‘womeninrock’wasanotherstrategyof strictly controlled. reinforce thedefinitionofrockasamaleartandmasculineterrainonwhichfemaletrespassis ‘dominant canonicalreadingofrockmasteryandachievement’(Bennett2009,p.475) rock bandscitingthemusicof1960sand1970s;soon.Theseprojectsadhereto rock songs; documentaries on Woodstock and other key events of the late 1960s; retro-style ,theRollingStones,LedZeppelinorQueen;compilationsof‘authentic’classic ‘heritage rock’(Bennett2009)projectssuchasrecordreleasesofliveconcertsby,forexample, century culturalheritage’(Bennett2009,p.478)andwasmanifestedbytheproductionof reclassification ofrockfromthemusictheiryouthtoafundamentalaspectlatetwentieth influential positionsinthemusicandmediaindustries.Theheritagetrendaimedata‘collective mediated mostlybymembersofthepost-wargenerationwhohad,thistime,achieved Recently themuseumsectorhas soughttoredresstheabsenceofwomenfromrock’sestab albums [includedinthelists]. music canbeidentified.Theperiodfrom1965to1969contain[s]fortypercentofall Britain (52percent)isstriking.Amongthethirty‘best’albums,a‘goldenage’ofrock The factthatnearlyallmusiciansarewhitemalesfromtheUSA(43percent)orGreat Gendered narratives of popular music history and heritage The discourseabout‘womeninrock’ 29 (von AppenandDöhring2006,p.22) - - Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 Digital’, displayed at the Centre de Cultura Contemporània de Barcelona, Spain, in 2017). Digital’, displayedattheCentredeCulturaContemporàniaBarcelona,Spain,in2017). St. Louis,USA)aswellsoloshowsfeaturingtheworkofspecificfemaleperformers(e.g.‘Björk ‘Women ofTheBlues:ACoasttoCollection’(2017,NationalBluesMuseumin Passion Power’(2011,RockandRollHallofFameMuseuminCleveland,USA) they tendtoreify essentialistconceptsofidentity andfemininityriskoverlooking theoral By groupingwomentogether underthelabels‘womenwhorock’orofblues’, strategic incursionsintothemale-dominated narrativesofpopularmusic’spastandpresent. ing studios)notonlyoffemale bluessingers,butalsoofinstrumentalistsandall-femalegroups. explore thediversityofactivities (e.g.song-writing,composing)andenvironmentsrecord photographs wereofstageperformancesand,asaresult,theexhibition missedanopportunityto ings ofthe‘bluesforemothers’MaRaineyandBessieSmith. The overwhelmingmajorityofthe of differentgenerations,includingEllaJenkins,KokoTaylor andAnneHarris,aswellpaint to attractyoungeraudiencesbyfeaturingphotographsofmore than60femalebluesperformers ’, shownatAmericanbluesfestivals,museumsandgalleries in2016and2017,attempted blues experience.Aspartofa‘newtourism’(King2006), theexhibition‘WomenOfThe myths’ of‘purity,simplicity,andprimitiveness’thatappealto touristsinsearchofan‘authentic’ 237) arguesthatthe Delta Blues Museum inClarksdale, MS,USA,drawsonthepopular‘blues lar musicinordertocreatethewidestpossibleappealmuseum audiences.King(2006,p. spectacular, canonicor“aestheticallyworthy”’andtendtoreplicate mystifyingaspectsofpopu glitz andshowmanshipintheirstagepersonalessbyartisticachievements. the exhibitiontendedtosuggestthatfemaleartistsearnedtheirstatusmorebydegreeof many performerswerepresentedonlybytheirstageoutfits.Byfocusingonfashionandclothing, Music ProjectinSeattle,aimedattheconstructionofacanon‘great’femaleartists.However, exhibition, whichwasalsoshownattheNMWAinWashingtonDC,andExperience of WomenintheArts(NMWA)website(NationalMuseumn.d.).The whose artistryadvancedtheprogressofrock-and-rollmusic’,accordingtoNationalMuseum sent daywhowere‘thefirsts,thebest,andcelebratedsometimeslesser-knownwomen the curationofexhibitionsandselectedabout60femalerecordingartistsfrom1920stopre curators adoptedthe‘canonicmodel’(Leonard2007a)deployedforinductionofartistsand Lennon, U2,MaryWilson,RoyOrbisonandJohnMellencamp. museum hasdisplayedexhibitionswhichcelebratetheworkofcanonicartistssuchasElvis,John and guides’(Leonard2007a,p.154),inkeepingwiththecriteriaforinductingartists, ‘similarity withthecanoniclistsof“significant”artistsfoundinpopularmusicencyclopaedias James, JoniMitchell,MadonnaandTheSupremes.RockHall’slistofinducteesthushas ees arewomenorgroupsthatincludefemaleperformers,amongthemABBA,Heart,Etta & Roll Hall of Fame and Museum 2017). In 2017, only 43 (13.5 per cent) of the 317 induct had a significant impact on the development,evolution and preservationof rock & roll’ (Rock Hall ofFameandMuseum,whoseFoundationannuallyinducesanumberartistswho‘have in mostmajormuseumcollections,amountingto10–20percent(Deepwell2006,pp.67–69). history andtocorrectthe male bias that has contributedto the scarcepresence of female artists and criticism.Thiscuratorialapproachaimedtoinsertwomenintothestandardnarrativeofart feminist art-historicalexhibitionsinthemid-1960saspartofemergingarthistory tries, theseexhibitionssharea‘reformingapproach’(Deepwell2006)whichwasintroducedby Despite thedifferentfocusonfemaleperformers,musicalgenres,materialobjectsandcoun Exhibitions whichcelebratethe achievementsoffemalemusicianscanbeunderstoodas As Leonard(2007a,p.156)hasobserved,popularmusicexhibitions oftenprivilege‘the For the‘WomenWhoRock’exhibition,whichwasshownatRockHallin2011, A similarpercentageofwomencanbenotedforthelistinducteesRockandRoll Rosa ReitsamerRosa 30 ------

Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 histories ofwomen’s,feministandqueermusic-making. and other(sub-)culturalproducersinvolvedin local musicscenesto document and tell the oral following sectionillustrates,feministmusicarchivistsoftenconductinterviewswithmusicians in” to dominant historical frameworks’ (Tucker1999, p. 68;see also Leonard2010). As the “women’s ” histories when they talk about their careers,nordothey simply “addthemselves histories offemaleartistswhichshow that ‘women musicians do not tend to constructseparate local feministmusic scenebeingforgotten. of female,feministandqueer music-making oftenalignswiththeirwishtoprevent own autonomy, independenceand self-determination (Cantillon have littleinterestincommercial exploitationofthematerial,butshareacommondesire for gles, activismandsolidarityin the presentandfuture(Reitsamer2015).Feministarchivists thus that istosay,usingpopularmusic historyandheritagetoinspiresupportfeministstrug artists representedinthearchivalcollectionsandaimatcreating a‘useablepast’(Flinn2011); and collaborativepracticesofhistory-heritage-makingthat givevoicetothemusiciansand and forgotten(male)musicians.Bycontrast,feministarchivists havedevelopedparticipatory have initiatedalternativerockheritageprojectssuchasrecord (re-)releaseswithmaterialoflost the ‘DIYpreservationism’(Bennett2009)ofageingmalefans ofpopularmusicgenreswho and popular music exhibitions framing specific female musicians as art ‘genius’, but also from the establishedmale-dominatedheritageprojectsmarketed by themusicandmediaindustries ticular era’(Eichhorn2013,p.98).Inthisrespect,feministmusic archivesdiffernotonlyfrom feeling thatephemera‘tellussomethingabouttheconditions ofwomen’severydaylivesinpar videos, fanzines,posters,photos,lettersandotherephemera. Thisarchivalpracticereflectsthe from records,asmanydifferenttypesofartefactspossible, suchasinterviews,music,lyrics, dominated history. They aim at inclusive collections of material by including, aside the ‘ideologyofautonomousartist’andstrategiesconsecrationexhibitedbymale- communities andDIYmethodsoffeministmediaproduction.Feministmusicarchivistsreject archives are closely aligned with the values, norms and ideologies of feminist, lesbian and queer archival turninpopularmusicstudies. number ofstudiesonpopularmusicheritageformations(e.g.Cohen Withers 2014,Reitsamer2015,Cantillon against dominant ideologies. Research on DIY feminist music archives (e.g.Eichhorn2013, self-empowerment, andrestonpersonalinitiativesmallcollectivespositioningthemselves ised andvernacularmusicheritageformationswhicharecharacterisedbyself-organisation popular musicandheritage,thetermdo-it-yourselfhasbecomeacceptedinanalysisoflocal and Cohen2014)isproduced,enactednegotiated.Inthecontextofrecentscholarshipon 2009, p.483)andillustratethevariouswaysafeminist‘DIYpopularmusicheritage’(Roberts work of activityorientedtowardsare-writingcontemporarypopularmusic history’ (Bennett As such,do-it-yourselffeministmusicarchivesarepartof‘agloballyconnectedinformalnet exist outsidetheframeofnationalinstitutionsandmainstreammusicmediaindustries. and Huber2013)sincetheywerefoundedbyenthusiasts,arerunlargelyvolunteers alternative popularmusichistories.Thesearchivesareexamplesof‘DIYinstitutions’(Baker preserve women’s,feministandqueermusic-makinginthepastpresenttodisseminate tives who have made use of the possibilities afforded by the internet inorderto document and Since the early 2000s, several music archives have been established by individuals and collec As Cantillon et al Gendered narratives of popular music history and heritage . (2017)suggest,thefunctions,practicesandmotivesoffeministmusic Feminist musicheritageformations et al 31 . 2017)thuscontributesbothtotheincreasing et al . 2017).Theirdocumentation et al. 2015)andtothe - - - - - Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 involved inthewomen’smovementandmusic-makingatthattime(Reitsamer2015).This women whohavebeenvolunteeringfortheWLMAsinceitslaunchin2011werethemselves of feministmusic-makingandactivismintheUKIreland1970s1980s.Thesix 2008, givesinsight intohowtheorganisersof the feminist/queermusicfestival Ladyfestposition Grassroots-Feminism-Archive, foundedbyElkeZoblincollaborationwithRedChidgey in political interestsandmethods offeministmediaproduction(seealsoReitsamer2015). The feminism andareseentobe separated bypoliticaldifferencesratherthanlinkedshared tions offeministswhoareoften labelledasprotagonistsof‘SecondWave’and‘Third According toEichhorn,thispolitics fostersadialogueandalliancesbetweendifferentgenera Riot GrrrlfanzinesatUSuniversitylibrariesengagein‘genealogical politics’(Eichhorn2013). understanding ofgenealogy,Eichhornsuggestshowarchivists whoestablishedcollectionsof production, whilesimultaneouslyplacingtheselegaciesina new light’.DrawingonFoucault’s and culturalproduction‘toalignthisworkwithlegacies offeministactivismandcultural increasingly engagesinestablishingfeministarchivestopreserve theirgeneration’sactivism for concertsandfestivalsconstitutedaDIYlesbianfeministmusic heritage. ‘Women’s music’andthetemporarytake-overre-definition ofpublicvenuesbyusingthem and consuming ‘women’s music’ and defined another key practice of feminist music-making. organisation of workshops, concertsand festivals created the spaces for rehearsing, performing power oftheelectricguitarinfavourforegroundingvoice andacousticinstruments.The non-masculinist, folk-influencedmusicby,forandaboutwomen,rejectingthetechno-phallic male dominancewithinthepopularmusicindustry(Bayton1993,Taylor2012).Itreferstoa ‘Women’s music’hademergedinthelate1960sandearly1970sasadirectreactionagainst the femaleperformersandgroups: Fabulous DirtSisters(1981–1989)highlightsthepracticeoffeministmusic-makingfavouredby ognised popularmusic histories and canons. An entry inthe WLMA’s weblog on thebandThe often lackedthefinancialmeanstomakearecordwhichcouldbeincludedinofficiallyrec women refused to cooperate with the male-dominated music industryforpoliticalreasonsand backgrounds andsexual orientations in the 1970sand1980s.AsWithers(2014)notes,these feminist music scene as it was lived and experienced by women of different classes, cultural tinuous processandthedynamicsofhistory-heritagemakingshedslightonlocal collective alsoconductsinterviewsandpublishesaweblog.Thecollectionunderlinesthecon nection notonlywithmusiciansbutalsoothersmall-scaleculturalproducers.TheWLMA personal involvementhasbecomeanimportantresourceforthecollection,providingcon The Women’sLiberationMusicArchive(WLMA)documentsthelostandforgottenhistory Eichhorn (2013, p. 27) states that a youngergeneration of women born since the late 1960s well aslyricalcontent. self-consciously soughttocreatemusicwhichreflectedwomen’scultureinsoundas culture of‘women’smusic’thatsprangfromthewomen’smovement.Thismusic absence oftheelectric/6-stringedguitarssituatestraditionwithinanemerging instruments astheywentalong),experimentingwithsongstructureandrhythm.The very uniquesound,. context oftheDirtSisters,writingmusicaswell.Thebandscreatedhasa This meant trying out different forms of decision making, organisation and, with the politics ofthe1970s.Therewasanurgencyatthistime‘todothingsdifferently’. The FabulousDirtSisterswereacollective,inspiredbythefeministandleft-wing . . aproductofthemtryingnewthings(includinglearningtheir Rosa ReitsamerRosa 32 (The FabulousDirtSistersn.d.) - - - - Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 instance by‘marking’thevenueswithgraffiti,tagsandbannerssloganssuchas‘feminist the diversestrategiesdeployedfortakingoverandre-defining(non-)commercialvenues, flyers andotherephemera.TheorganisersofLadyfestVienna2004describeintheinterview Brazil, alongwithinterviewsfeministmediaproducersandacollectionofposters,fanzines, Ladyfest organisersinWesternandEasternEurope,butalsocountrieslikeParaguay 2007b, Aragon2008,Zobl2012).TheGrassroots-Feminism-Archivefeaturesinterviewswith the globesincefirstLadyfestwasorganisedinOlympia,Washington,2000(e.g.Leonard Ladyfest musicfestivalsarenon-profit,activist-orientedeventsstagedindiversecitiesaround themselves in relation to DIY lesbian feministmusicheritage.As a continuationofRiot Grrrl, Moreover, as‘safe spaces’forqueercommunities andrepositoriesfortraumatic experiences, with eachother,thesongsand thematerialobjectstheycollected(BakerandHuber2013). as ‘archivesoffeelings’(Cvetkovich 2003)becauseofthearchivists’emotionalinvestments different timesandplaces.AsCantillon of conflicts,trauma,shameand marginalisationexperiencedbyfeminists,lesbiansandqueers in both collective celebrations of DIY lesbian feminist music heritage and collective experiences The genealogical politics exhibited by the entries in the Grassroots-Feminism-Archive illustrate only celebrated,butalsochallengedbyayoungergeneration ofwomen,feministsandqueers. ‘dyke marches’.ThesearethelocalspaceswhereDIYlesbian feministmusicheritageisnot diverse musicandartformsaswellworkshops,performances, exhibitions,‘slutwalks’and a feminist,queerandanti-racist space for all genders by organising a programme which includes local organisersdonot place theirfocusonfeminist/queer rockmusic; rather theyaim to create in theformulationofestablishedrockmusichistory. first place,forinstance,byprivilegingofwhitemalerockmusicians bythemusicindustryand the globe.However,perceptionofrockaswhitemusicremains. Rockbecamewhiteinthe fanzines and organise feminist music events, not only in the USA but in many countries around tion ofrockasamalepracticeandinspiredyoungergenerationgrrrlstostartbands,write dominated primarilybywhitemiddle-classmales.Thesewomenhavechallenged the defini of womeninterestedinpunk’smasculinerituals,butalienatedbythelocalpunkmusicscenes Riot GrrrlandthesubsequentLadyfestmusicfestivalswereinitiatedbyayoungergeneration organisers alsoaddresstheracialexclusivityofLadyfestmusicfestivals,suchasElisaGargiulo: interviews with Ladyfest organisers in Europe tend to support Halberstam’s arguments, certain of genderandsexuality,thedisinterestin a politics of raceandclass’.While several of the the emphasisonwhitewomanhood,orexclusivefocuswithinlesbianfeminismissues generation ofwomen,buttheyalsopromote‘anothertraditionwomen’smusic–namely, musicians aswelltheLadyfesteventsreviveanearliermodeloffeminismforayounger who replacedsoftacousticsoundswithelectricguitars.ForHalberstam(2005,p.180),these music’ festivals,butratherthefeminist/queeractivismofRiotGrrrlandUSbands becomes clearfromreadingtheinterviews,arenotsomuch‘women’smusic’and music heritage.However,thekeyreferencepointsfortheseandotherLadyfestorganisers,as spaces/free zonesnow!’Insodoing,theypositionthemselvesasheirsofDIYlesbianfeminist As theLadyfestprogrammesthatincludedinGrassroots-Feminism-Archive show,many white andmiddle-class. Brazil LadyfesthasthisRiotGrrrlessenceandhistorythenisreally middle-class. ButwehavetolearnandIthinkunderstandthatatleastin I reallywantthatothergirlsarepartoftheorganisationtomakeitlesswhiteand Gendered narratives of popular music history and heritage et al . (2017)note,feministmusicarchives canbedeemed 33 (cited inZobl2012,n.p.) - Downloaded By: 10.3.98.104 At: 13:22 30 Sep 2021; For: 9781315299310, chapter3, 10.4324/9781315299310-3 Bayton, M.,2011.Womenandtheelectricguitar. canon ofmale‘great’artistsandcelebratetheexclusionwomenfromrockmusichistory, terised bythelinearhistoryexhibiteddominantheritageprojectswhichreproduce exploring thedigitalcollections.DIYlesbianfeministmusicheritageisthereforenotcharac love, celebrationandpride,feministmusicarchivescantriggeraffectiveexperiencesinpeople Davies, H.,2001.Allrockandroll ishomosocial:therepresentationofwomeninBritishrockmusic Cvetkovich, A.,2003. Cohen, S., Cohen, S.,1991. Citron, M.J.,1993. Cantillon, Z.,Baker,S.,andButtigieg,B.,2017.Queeringthe community musicarchive. Bennett, A.,2009.‘Heritagerock’:rockmusic,representationandheritage discourse. Bayton, M.,1998. Bayton, M.,1993.Feministmusicalpractices:problemsandcontradictions. Baker, S.andHuber,A.,2013.NotestowardsatypologyoftheDIY institution:identifyingdo-it-yourself Aragon, J.,2008.The‘Lady’revolutionintheageoftechnology. the ideaoffeminist‘waves’. genealogical politicswhichhasthepotentialtounpickgenerationallogicthatunderpins struggles inthefieldofpopularmusicproduction.Feministarchivesthuspromote a ownership astheyplacevalueonaccessibilityandtheinspirationsupportoffeminist/queer making deployedbyfeministarchivistsistherejectionoftraditionalnotionsauthorshipand music heritage. Integraltothe participatory and collaborative practices of history- and heritage- the disseminationofalternativepopularmusichistoriesandconstructionDIYlesbian alities. Feministmusicarchiveschallengetheestablishedcanonof‘great’malerockartistswith the ‘ideologyofautonomousartist’andemphasisonwomen’slooks,bodiessexu past andpresent,butassupplementarytoestablishedcanons,theyhavehardlyquestioned phrase ‘womeninrock’haveheightenedthecontributionsoffemaleartiststopopularmusic’s I havealsoshownthatjournalistarticlesandpopularmusicexhibitionswhichemploythe women fromthecanonsof‘highart’fieldsandreinforcedadefinitionrockasmaleart. as anintegralpartoflatetwentiethcenturyculturalheritage,reproducedtheexclusion artist’ andtheclaimthatrockmusicoflate1960searly1970sshouldberecognised the musicandmediaindustries.Thisdiscourse,informedby‘ideologyofautonomous white malemembersofthebabyboomergenerationwhoachievedinfluentialpositionsin heritage projectsarebasedontheelitistdiscourseabout‘rockasart’whichwaspromotedby and heritage can be understood as gendered. As we have seen, established rock music history and The purpose of this chapter has been to illustrate how the narratives of popular music history ity inspaceandtime’(Halberstam2005,p.6). ‘nonnormative logicsandorganizationsofcommunity,sexual identity, embodiment,andactiv but ratherby queer modelsoftemporalityand queer strategies of place-makingwhich refer to press. Feminist Studies London: Routledge,265–272. L. Grossberg,J.Shepherd,andG.Turner,eds. places ofpopularmusicpreservation. Politics Popular Music , 4(1),71–85. et al ., eds.,2015. Rock cultureinLiverpool:popularmusic inthemaking , 32(91–92),41–57. Frock rock:womenperformingpopularmusic Gender andthemusicalcanon , 20(3),301–319. An archiveoffeeling Sites ofpopularmusicheritage:memories, histories,places European JournalofCulturalStudies . Durham,NC:DukeUniversity Press. Rosa ReitsamerRosa Conclusion References . Cambridge:CambridgeUniversity Press. Rock andpopularmusic 34 In : M.C.Kearney,ed. . Oxford:OxfordUniversityPress. 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