00:00:09
over height of the punk explosion almost
00:00:12
40 years ago a handful of women
00:00:14
redefined what it was to be a female
00:00:16
artist and performer they forced their
00:00:19
way onto a largely male-dominated music
00:00:21
scene and became part of a movement that
00:00:23
was to radically change the artistic
00:00:25
landscape of this country they came from
00:00:28
the squats and suburbs of London and
00:00:30
inspired a generation of ordinary young
00:00:33
women to believe they could do whatever
00:00:34
they wanted
00:00:36
along with Siouxsie Sioux Chrissie Hynde
00:00:39
polystyrene in the rain coast the slicks
00:00:42
were amongst Punk's most important
00:00:44
figures and viv albertine their
00:00:46
guitarist has just brought out her
00:00:48
brilliantly titled memoir clothes
00:00:50
clothes clothes music music music
00:00:52
boys boys boys it charts her life as
00:00:55
part of this cultural revolution these
00:00:58
were female musicians doing it on their
00:01:00
own terms no sellout no compromise no
00:01:03
straightforward sex appeal and in doing
00:01:06
it their way they set the template for
00:01:08
the modern rebel girl the great thing
00:01:10
about punk was that the fact that I was
00:01:11
a girl did was no longer any kind of a
00:01:14
feature there's a six-month window where
00:01:16
you could kind of sneak in there and see
00:01:18
if you could get away with it
00:01:19
you never heard girls until then
00:01:22
absolutely bursting with a really raw
00:01:25
primal energy that we had we're trying
00:01:28
to cause a bit of mayhem to be honest
00:01:29
with you well you look like you're yeah
00:01:31
we threw a few chairs around it was a
00:01:33
quarter arms for the girls they weren't
00:01:36
background dressing anymore they were
00:01:38
Amazonian punk rock warriors I don't
00:01:41
give a [ __ ] you cannot it's your
00:01:43
attitude that counts
00:01:46
these women were breaking taboos shaking
00:01:49
up the establishment but did their
00:01:51
revolution last longer than a
00:01:52
three-minute pop song almost 40 years on
00:01:55
now mainstream culture has absorbed the
00:01:57
shock of these outsiders can the female
00:01:59
Punk spirit still survive little girl
00:02:02
should be seen and not home it's 1977
00:02:19
honey and Jackie magazines are packed
00:02:22
with girls with perfect Charlie's Angel
00:02:24
flicks wearing flares pinning posters of
00:02:27
Rod Stewart to their wall legs and cosa
00:02:31
che mums early to the latest disco hits
00:02:33
on Top of the Pops and lovely David soul
00:02:36
is at the top of the charts with don't
00:02:38
give up on us baby the back pages of the
00:02:41
NME sell I choked Linda Lovelace
00:02:44
t-shirts in reference to the famous porn
00:02:46
star from deep throat despite the birth
00:02:49
of feminism for many young women 70s
00:02:52
Britain isn't exactly the land of
00:02:54
opportunity
00:02:58
but some young women are looking for
00:03:01
something a little more underground
00:03:02
something more dangerous something they
00:03:05
can call their own that thing it's punk
00:03:07
rock and it's in little venues like this
00:03:10
one that they get to take center stage
00:03:11
for the very first time so it was here
00:03:14
at the Halston Colosseum in London that
00:03:17
the slit the first all-girl punk band
00:03:19
played their debut gig on March the 11th
00:03:22
1977 their chaotic performance and
00:03:27
in-your-face irreverence made a huge
00:03:29
impact on many of those who are in the
00:03:31
audience that night I just felt like I
00:03:33
wish I was me this is what I want to be
00:03:37
what they sang and how they behaved just
00:03:40
spoke to me
00:03:42
I'm always beating the crap out of the
00:03:45
drums Tessa
00:03:46
all in black she looks amazing erring
00:03:50
more than any of the female performers
00:03:51
and even maybe the men typify the spirit
00:03:54
of punk rock she's blessing and her old
00:03:57
wrinkle you know was complete revelation
00:04:00
to see them because they were just so
00:04:03
energetic so wild it's pretty
00:04:06
extraordinary
00:04:07
actually no women had ever done this
00:04:10
before the slits were at the heart of a
00:04:14
fledgling London punk scene which emerge
00:04:17
from the clubs and squats of West London
00:04:19
these squats were crash pads and
00:04:21
rehearsal rooms when manifestos were
00:04:23
hammered out and punk bands were born
00:04:26
punk was a howl of frustration a
00:04:28
visceral reaction to the dull British
00:04:30
establishment and 1970s pop music's
00:04:33
overblown pretensions and anyone could
00:04:35
be involved initially attention focused
00:04:39
on male punk bands but women soon
00:04:41
elbowed their way to the forefront not
00:04:44
just as vocalists but as guitarists
00:04:46
keyboard players bass players and
00:04:48
drummers and shortly after the
00:04:50
trailblazing halston gig viv albertine
00:04:53
who was also part of this closely knit
00:04:55
punk fraternity joined The Slits
00:04:57
on guitar
00:04:58
let's talk a bit about the kind of
00:04:59
atmosphere around Punk because some
00:05:02
people may think of it as a kind of
00:05:03
aggressive time but actually it was
00:05:05
quite a kind of open-minded time the
00:05:08
idea the idea was that you could do what
00:05:10
you want there's a kind of DIY ethos
00:05:11
wasn't there around it I sort of didn't
00:05:14
know Punk existed well there wasn't Punk
00:05:15
you know I didn't know there was this
00:05:17
way of being yourself on stage and not
00:05:21
caring about your accent or how poor you
00:05:23
were or where you came from
00:05:24
until I saw Johnny Rotten play and then
00:05:26
that was it it wasn't epiphany
00:05:33
I think just that package he was he was
00:05:37
near a girl like me as a boy could be
00:05:40
really I got left 200 quid the only
00:05:43
money I've ever been left in my life by
00:05:44
my grandmother and I thought I'm gonna
00:05:46
go and buy a guitar Mick Jones he was my
00:05:48
boyfriend at the time said great I
00:05:50
literally couldn't play it I couldn't
00:05:52
hold down one bar chord and then I think
00:05:55
about a week later I met Sid Vicious in
00:05:57
the street I hadn't met him before and
00:05:58
said I'm gonna make a band and he said
00:06:00
oh I'll be in a band with you you were
00:06:02
practicing for quite a while weren't you
00:06:03
with Sid yeah we did spend the whole of
00:06:05
summer 76 the hottest summer on record
00:06:07
in Joe strummers basement trying to get
00:06:10
band together we sort of got used to how
00:06:13
it felt to rehearse and turn up every
00:06:15
day and and then Sid decided I couldn't
00:06:17
play well guitar well enough to be in
00:06:19
the band anymore even though it was my
00:06:20
band okay so you joined The Slits
00:06:26
and did you get a kind of confidence
00:06:29
from that environment cuz when you join
00:06:31
the slits it was an all-girl group
00:06:32
wasn't it hmm I didn't like it being an
00:06:34
all-girl group and to everyone at the
00:06:36
time was very against being labeled you
00:06:38
know because we've been labeled all our
00:06:40
lives we were just the sort of useless
00:06:41
poor comprehensive school educated kids
00:06:44
and said to Chrissie Hynde to as a
00:06:47
friend of mine
00:06:47
Oh Chrissy I want to be in an all-girl
00:06:49
group it's tokenistic and Chrissy just
00:06:51
said to me I'll shut up and get on with
00:06:53
it they're in good bad very dead fur for
00:07:02
the fan rule on the same sublevel I
00:07:04
can't believe how we found each other
00:07:06
because even to this day I've never met
00:07:08
any other women like the other three
00:07:11
slits Ari and I especially could write
00:07:14
together really well which means it
00:07:16
couldn't he was really crippling to her
00:07:18
with me there because I don't know you
00:07:20
wanted to write songs about SNM and
00:07:22
concentration camps and things and I
00:07:24
couldn't can do it with the girls I
00:07:27
could write a song like typical girls
00:07:29
and they will understood exactly what I
00:07:31
was on about and the pressures of what's
00:07:33
expected of you to be a young woman
00:07:37
Hey
00:07:44
so she'll talk a bit about re cuz she
00:07:47
was a very unusual coach she did have an
00:07:49
extraordinary mind and she was very very
00:07:51
different and very relaxed about her
00:07:52
body I mean she pissed on the stage it's
00:07:55
not to be shocking but she basically
00:07:57
desperately needed a pit and she
00:07:59
completely liberated me actually about
00:08:01
my body I learn a hell of a lot off her
00:08:03
and we translated that back into the
00:08:05
slits as well you don't feel any chance
00:08:18
Oh
00:08:22
I mean you can feel the fear service
00:08:24
there if we very specifically made sure
00:08:27
our voices and our backing vocals
00:08:28
weren't all girly and breathy again even
00:08:31
just like when you shout across a
00:08:32
playground you go oi you don't go hey
00:08:35
why you're doing it this massive you
00:08:38
know kind of controversy on the internet
00:08:40
as to what the lyrics are and the first
00:08:41
verse nobody knows well I don't know
00:08:45
female punks were trailblazers creating
00:08:48
not just their own space for performance
00:08:51
but their own kind of music their own
00:08:54
way of being
00:08:54
they took Malcolm mccarran's manifesto
00:08:57
be childish be irresponsible be
00:09:00
disrespectful be everything that society
00:09:01
hates and created their own style
00:09:04
sometimes even their own cartoonish
00:09:06
personas
00:09:17
there was 19 year-old Siouxsie Sioux the
00:09:20
girl from the London suburbs whose which
00:09:22
like look inspired women made men feel
00:09:25
both sexy and submissive at the same
00:09:27
time you had Suzy advances as Suzy was a
00:09:31
double tricks for the three pretty boys
00:09:33
was kind of pervy it was very good
00:09:35
everyone had their own look Suzy
00:09:38
probably more than anyone
00:09:39
you know if she had that whole Clockwork
00:09:40
Orange thing going and she always looked
00:09:43
fantastic
00:09:52
there was polystyrene with herb and
00:09:55
x-ray specs sporting braces on her teeth
00:09:57
and challenging the idea that female
00:10:00
performers should be passive and
00:10:01
conventionally beautiful polystyrene had
00:10:03
a major part to play she was
00:10:05
particularly empowering to women that
00:10:07
weren't about looking girly x-ray Spex
00:10:10
had a great image and a great sound they
00:10:12
were so different to everything that
00:10:14
come before ya polly was a little anti
00:10:18
sex symbol in it and she will like a bit
00:10:21
bin bag it was so liberating for
00:10:24
everyone around you felt like hey we can
00:10:26
just look like you know how we want to
00:10:29
and the songs were just so different as
00:10:31
well
00:10:33
she sang like no woman had done before
00:10:36
it was the kind of screen ready some of
00:10:39
the early song scream of desperation
00:10:42
it was all about consumerism it's all
00:10:44
about not being a slave to your desires
00:10:46
most people associate bondage with
00:10:48
section bonded and I think it's
00:10:51
affirmative and I think of whips and
00:10:54
things like that but it isn't it's about
00:10:55
any form of slavery and it's against
00:10:58
back saying that bondage up yards and I
00:11:00
[ __ ] after that and Gina Burch and Ana
00:11:08
de Silva who was so inspired by The
00:11:10
Slits first gig that they started their
00:11:12
own band the raincoats in November 1977
00:11:15
within a few weeks they were playing
00:11:17
their first gig the raincoats preferred
00:11:20
ideas to proficiency encountered John
00:11:22
Lydon amongst their fans it was all
00:11:29
about you putting your own ideas forth
00:11:32
and bringing yourself to it it wasn't
00:11:36
copying this guitar play and doing these
00:11:38
solos and lots of fancy stuff it was
00:11:42
about you bringing what you had to the
00:11:44
fore
00:11:51
as well as American Chrissie Hynde who
00:11:54
dropped out of art school in Ohio and
00:11:56
landed in London at the beginning of the
00:11:57
punk scene when people talk about this
00:12:00
subject people forget Chrissie Hynde you
00:12:02
have a woman doing what no one's ever
00:12:04
done before which is playing guitar very
00:12:06
aggressively you play with Chrissie you
00:12:08
have to rock that's what she wants to do
00:12:09
she'll get it done the essence a rock
00:12:11
you know just as tough as anything men
00:12:13
could do Chrissy's abilities didn't go
00:12:16
unnoticed by Punk and Rosario Malcolm
00:12:18
Lou Herrin she found herself part of a
00:12:20
small pool of musicians who went on to
00:12:23
form some of the major punk groups
00:12:24
it was always kind of nurturing Muir
00:12:26
trying to help me out which was
00:12:28
fantastic so I really looked up to
00:12:29
Malcolm
00:12:30
we had to par just as a boy in the
00:12:33
background but we had one rehearsal
00:12:35
Vivienne Westwood came down and she was
00:12:39
impressed she goes Oh Chrissie you can
00:12:41
really squeeze a chord out of that thing
00:12:43
anyway they never called me back after
00:12:46
that one rehearsal and the next week
00:12:47
there was a new band in town it was the
00:12:49
Damned
00:12:50
these female performers were standing
00:12:53
center stage and that was thrilling for
00:12:55
young women up and down the country also
00:12:59
in from America
00:13:00
now renowned photographer Sheila Rock
00:13:02
was inspired by Punk to pick up her
00:13:05
camera and document the scene in it's
00:13:06
exciting infancy she was invited to
00:13:09
intimate rehearsals and met the artists
00:13:11
at the forefront of the movement like
00:13:13
the punks
00:13:14
she was learning her trade as she went
00:13:15
along and I went around just
00:13:19
photographing what I thought was
00:13:21
interesting you know I met the Bromley
00:13:23
contingent I met Susie Lily Idol Steve
00:13:27
Severn we got the picture of Susie here
00:13:30
in 1976 so doesn't inform punk went
00:13:33
mainstream yeah and she looks terrifying
00:13:37
well she had that dominatrix look about
00:13:41
her totally original she's got a t-shirt
00:13:44
here which shows two naked tits
00:13:47
basically on there this kind of clothing
00:13:49
that I've got a lot of reaction from
00:13:50
people I think the audience was as
00:13:53
expressive in their clue
00:13:55
moving but because she's very handsome
00:13:58
she was just very imposing punk girls
00:14:02
certainly weren't sexy and it was almost
00:14:05
asexual but she brought something else
00:14:08
too to the scene I think she looks
00:14:11
pretty sexy to me i but a kind of
00:14:13
strength not a kind of 50s sexy and it
00:14:19
explores very underground roots I think
00:14:22
and dark deep things that young people
00:14:27
were wanting to explore but but Susie
00:14:31
brought it out to the open I think yeah
00:14:33
that is Chrissy hunt this was Chrissy
00:14:36
before she sang she was writing for the
00:14:40
enemy she was the one that invited me to
00:14:42
go down it was near London Bridge you
00:14:44
know and I had at that time no idea that
00:14:47
she had such an amazing voice she was
00:14:51
going for it really going for it yeah
00:14:53
it's interesting that burn as well cause
00:14:54
it's a mixture of men and women which is
00:14:56
what she's good isn't it mmm this is
00:14:59
kind of an amazing picture isn't her I
00:15:01
asked Jordan if I could photograph her I
00:15:04
thought it'd be really good to get this
00:15:05
amazing kind of sex sign and I just
00:15:08
walked across the street and as I turned
00:15:10
around there was this guy wearing
00:15:12
bell-bottoms Flair's who looks a little
00:15:15
pervy looking at her and I just thought
00:15:19
you know this is like one of those magic
00:15:21
moments his body language is amazing in
00:15:23
this but she is relaxed but
00:15:24
confrontational and he is simultaneously
00:15:27
pervy and really cross he's really angry
00:15:30
look Ames it's a really interesting me
00:15:32
actually yeah she's trying anything yeah
00:15:34
III think that she's fabulous yeah she
00:15:38
looks brilliant
00:15:40
female punks played around with notions
00:15:42
of desire subverting male sexual
00:15:45
fantasies through what they wore they
00:15:47
refused to be submissive they hijacked
00:15:50
the perverted there was something
00:15:51
glorious about all these different
00:15:53
shapes and sizes of bodies strutting the
00:15:55
seventies streets wrapped in rubber
00:15:58
Malcolm McLaren and Vivienne Westwood's
00:16:00
shop sex on the kingsroad experimented
00:16:03
with a lexicon of pornography they
00:16:05
stopped fetish where slogan t-shirts and
00:16:08
the infamous bondage trousers they
00:16:10
didn't dress me I had a few of their
00:16:12
things when I went back to Cleveland
00:16:13
Ohio I had a rubber skirt and a scum
00:16:16
manifesto t-shirt and you know I really
00:16:17
felt like the dog's bollocks I did look
00:16:19
cool especially you know at a basement
00:16:21
in Cleveland Ohio
00:16:22
I didn't find it intimidating going into
00:16:24
sex I wanted an you know a specific kind
00:16:26
of dog country I will make you one and
00:16:28
that and getting that some vinyl
00:16:30
trousers they were great and turned out
00:16:32
to be very practical because she just
00:16:33
wipe the spit off Jordan the shop
00:16:36
assistant was a living advertisement for
00:16:38
the power of sex she wore rubber clothes
00:16:40
a beehive and theatrical makeup on her
00:16:43
daily commute from Sussex British Rail
00:16:45
even thought Jordan in first class for
00:16:47
her own protection
00:16:48
they let me travel first class with my
00:16:52
second class ticket every day from Lewis
00:16:55
to see food because of a travel they
00:16:56
knew I was having so they were really
00:16:59
sweet about that I used to love PVC and
00:17:02
what they used to call in my ear wit
00:17:06
look where little wet look Mac with
00:17:09
gloves that matched I was wonderful what
00:17:13
was it about sex it attracted you I was
00:17:15
doing a similar thing on my own to what
00:17:19
Vivian and Malcolm were actually aiming
00:17:20
for we were on a sort of parallel course
00:17:23
in a way and I felt very a very at home
00:17:26
there what did that get Jordan put on
00:17:29
some rubber clothes I saw myself as a
00:17:32
walking work of art really later on when
00:17:34
I went through geometric makeup that was
00:17:38
all to do with Mondrian and the people
00:17:41
of Cal which is a tribe a few people
00:17:44
said when they went into the shop sex
00:17:45
they were quite intimidated why do you
00:17:49
think that was it's Vivian used to grill
00:17:52
people
00:17:52
sometimes you know why do you want to
00:17:53
buy this and what happened to Melissa
00:17:55
but if somebody gave the wrong answers
00:17:56
when she's not letting them buy it
00:17:57
well sometimes yeah people were
00:18:00
passionate about what they made what
00:18:02
they wore what their meaning was behind
00:18:04
it and we just didn't want twits going
00:18:06
out there wearing it for the wrong
00:18:08
reasons would you say that Punk was one
00:18:11
of the first pop culture's where women
00:18:13
could appear threatening in that way I
00:18:16
would say probably yes it was a time of
00:18:19
sexual equality and I believe women were
00:18:22
quite liberated by it as well and men
00:18:28
and women could actually look very
00:18:29
similar and if you like try and outdo
00:18:31
each other when they went out you know
00:18:33
they like sharing each other's makeup it
00:18:36
was a great great thing really
00:18:39
there's always an ideal woman's shape
00:18:41
that we are given and women like
00:18:43
yourself and other parent women didn't
00:18:45
care and there's something very
00:18:46
refreshing about seeing women in all
00:18:49
sorts of shapes wrapped in rubber in
00:18:51
ripped t-shirt whatever you want walking
00:18:53
down the street there's something really
00:18:54
beautiful about that it didn't matter
00:18:57
what size you were how tall you are it
00:19:00
was really how how great you looked punk
00:19:05
also had its own sexual codes
00:19:07
despite the rubber clothes and the
00:19:09
provocative way of dressing it was
00:19:11
mostly very asexual sex wasn't really a
00:19:14
feature in the punk thing as far as I I
00:19:17
never really noticed that I mean some
00:19:19
people were getting their end away but
00:19:20
it wasn't really the thing you weren't
00:19:22
dressing to attract the opposite sex you
00:19:25
were dressing to tell everyone to go
00:19:26
[ __ ] themselves basically as a real up
00:19:28
yours
00:19:29
mentality as a guy if you had any
00:19:33
intentions other than intellectual or
00:19:36
musical one with these girls they were
00:19:38
soon cut short because these women just
00:19:40
had this attitude that kind of knocked
00:19:41
that out of the arena he didn't mess
00:19:43
with these women they weren't girly
00:19:45
girls they would spend I to I with you
00:19:48
and give as good as they got
00:19:49
nevertheless
00:19:50
for many punk women the streets became a
00:19:52
battleground
00:19:56
Punk invited confrontation and punk
00:19:59
women in their rubber stockings and DMS
00:20:02
often confused middle-aged men who
00:20:04
didn't know whether they were coming or
00:20:06
going
00:20:06
such confusion could sometimes flip into
00:20:09
violence did the slits get hassle they
00:20:15
were physically attacked on the streets
00:20:17
literally you've got to understand that
00:20:19
they deeply freaked people out on a
00:20:22
psychological level on the white riot
00:20:24
tour we had to bribe the coach driver
00:20:26
Norman to allow them on the bus not
00:20:29
because they did anything to him but he
00:20:31
just couldn't compute you know women
00:20:33
weren't supposed to be like this those
00:20:35
guys just cruising the streets
00:20:37
old-fashioned macho guys who were the
00:20:39
norm then just thinking that maybe how
00:20:41
you looked you were a prostitute
00:20:42
I got spat at and attacked many times re
00:20:45
got stabbed it was just part of everyday
00:20:47
life the slits appearance sparked
00:20:50
controversy whatever they were wearing
00:20:51
or not wearing but unlike many other
00:20:54
female artists at the time they remained
00:20:56
firmly in control of their image as they
00:20:59
showed when they appeared topless on the
00:21:00
cover of their debut album cut here they
00:21:04
are looking fantastic bare breasted
00:21:07
defiantly out staring the cameras gaze
00:21:09
this was an amazingly audacious thing to
00:21:12
do few female artists of any had posed
00:21:15
topless on their album covers and it
00:21:16
caused a big controversy Rough Trade had
00:21:19
a massive argument amongst the staff as
00:21:21
to whether they should stock the album
00:21:23
at all and supposedly one man tried to
00:21:26
sue Island Records for crushing his
00:21:28
Rolls Royce when he saw the three slits
00:21:30
bare-breasted on a big billboard that
00:21:33
just evolved that day we had a female
00:21:36
photographer penny Smith we just got
00:21:38
bigger over relaxed towards the end of
00:21:39
the day and started slopping Madonna's
00:21:41
and all that kind of thing but we were
00:21:42
very sure that we had to choose a photo
00:21:46
where the look was right we looked
00:21:48
confrontational and there was no come
00:21:50
hither look or Nothing submissive about
00:21:52
us I really liked the slits colors it's
00:21:55
earthy it's definitely making a
00:21:57
statement
00:21:58
they're naked but it's not sexy it's not
00:22:00
objectifying for every image that went
00:22:03
out about us every word that went out of
00:22:05
ours we fought and fought and fought for
00:22:08
it to be right because we were
00:22:10
redefining how women girls were seen in
00:22:13
the media The Slits cover of Kurtz
00:22:16
marked the height of Punk's exuberance
00:22:18
by the early 1980s many of the first
00:22:21
generation of punk women left the
00:22:23
industry as post-punk shifted to new
00:22:25
wave pop artists like Ana de Silva Gina
00:22:28
Burch and viv albertine made a tactical
00:22:31
retreat into family life I think anyone
00:22:34
who's been confronted in aggressive
00:22:36
situations for say six seven years
00:22:39
non-stop having to fight and argue all
00:22:42
the time your point of view you know
00:22:43
whether it's with raster's or A&R men
00:22:46
old boyfriends or new boyfriends or you
00:22:48
know friends who thought you changed too
00:22:50
much people in street spitting at you I
00:22:52
mean seven years of that it has it's all
00:22:54
stiff
00:23:04
Punk like all youth movement was of its
00:23:07
generation its story has become cultural
00:23:10
folklore so familiar that we forget the
00:23:13
power of its primary revolutionary drive
00:23:16
we can't believe it was ever a threat
00:23:18
it's been a long time since British rock
00:23:20
music has carried the whiff of political
00:23:22
danger punk attitudes are mainstream now
00:23:26
even middle England distrust the police
00:23:29
and politicians we're all
00:23:30
anti-establishment these days so the
00:23:34
women win after all it's no longer
00:23:36
shocking to see a woman on stage but as
00:23:39
these outsiders were absorbed into the
00:23:41
mainstream the revolution has become
00:23:43
commodified fetish gear and Bava boots
00:23:46
are on the high street a sneer and
00:23:48
fishnet is a way to make money when
00:23:50
everyone's selling Punk attitude can it
00:23:53
really mean anything at all now people
00:23:56
want the goods you know now people want
00:23:58
to be on the cover of a fashion magazine
00:24:01
I mean my policy is if Lenny wouldn't do
00:24:03
it don't ask me to do it if you're a
00:24:05
young woman now dressing in fetish gear
00:24:07
you just think well that's sexy I'm
00:24:10
trying to please my man I'm trying to
00:24:11
get attention to be noticed in the music
00:24:13
industry when we were dressing in fetish
00:24:15
gear it was a political statement it had
00:24:17
never been seen before outside of you
00:24:20
know sleazy bedrooms Allure magazine
00:24:23
still the impact of that brief
00:24:25
Revolutionary period continues to
00:24:27
reverberate you can see Punk in the
00:24:30
pioneering attitudes of artists that
00:24:32
come later
00:24:32
rewriting musical rules doing what they
00:24:35
want you can see it in the riot girls
00:24:37
who explicitly brought punk and feminism
00:24:39
together and it's hiding in Lily Allen's
00:24:42
cheeky lyrics and bursting out of [ __ ]
00:24:44
riots protests against Putin
00:24:50
Punk even lives on in emerging bands
00:24:52
such as the excellently named Young
00:24:54
London trio skinny girl diet
00:24:59
if you want to say something that's
00:25:02
provocative if you want to look
00:25:04
different if you want to say something
00:25:07
different about sex and gender then
00:25:09
punks a pretty good place to start
00:25:11
Punk is really not dead it just keeps on
00:25:14
evolving just like the original wild
00:25:18
girls of punk themselves who continue to
00:25:20
break new ground although kids and life
00:25:23
might have taken them away for a while
00:25:25
in the last couple of years many of the
00:25:27
original women have started to write
00:25:29
play and record again Gina Burch and
00:25:33
Anna da Silva are working on their own
00:25:35
material and making a raincoats
00:25:37
documentary as well as releasing a solo
00:25:40
album and writing her memoir viv
00:25:42
Albertine has made her acting debut in
00:25:44
the film exhibition and Chrissie Hynde
00:25:47
is currently touring the UK with her
00:25:48
first solo album Stockholm
00:25:51
the universe Jess you know anyone can
00:25:57
start when they're young and they're
00:25:58
beautiful and they have their youthful
00:26:00
exuberance and you know and they don't
00:26:02
have anything else to do they don't have
00:26:03
to get through the real part of life
00:26:05
which is having a family paying the
00:26:08
bills you know getting on with it to me
00:26:11
life is like challenge challenge
00:26:12
challenge stretch stretch stretch and I
00:26:14
did have a period where I couldn't do it
00:26:15
I didn't have the energy and I'd been
00:26:17
very ill and had my daughter etc and it
00:26:19
went from me but it's back now and
00:26:21
that's what I'm after
00:26:24
I find that we're on stage that we're
00:26:31
sort of ageless we have our souls and we
00:26:34
go and perform them I can see Yoko Ono
00:26:37
perform when she's 82 83 84 and I think
00:26:41
20 more years 30 more years it's it
00:26:47
perhaps the time of the older woman you
00:26:49
know and why not
00:26:54
these are grown women performing and
00:26:56
creating as they please not just plain
00:26:59
old hits but creating new songs about
00:27:01
how they see the world as older women
00:27:03
ex-wives mothers humans artists and just
00:27:08
by doing that they're breaking some of
00:27:10
society's phobias about age and gender
00:27:12
that seems pretty Punk to me home sweet
00:27:25
home
00:27:26
home sweet home home sweet home home
00:27:30
sweet home I feel that the tito's is not
00:27:34
much left to do lovely lemon drizzle
00:27:36
cake heat up the photo tasty courgette
00:27:40
quiche with a nice crispy top a hundred
00:27:43
grams of biscuits in a fancy box never
00:27:50
try to rule another person's life you
00:27:53
will only lose your lovely fragrant
00:27:56
Weiss and don't like a guy go changing
00:28:00
who he is you are not a god and it is
00:28:03
not your bit
00:28:04
home sweet home home sweet home that's
00:28:08
such a thing I've lost her
00:28:11
singers from but romantic love was
00:28:14
beautiful equal in another set tree
00:28:18
things words also great same thing with
00:28:20
marriages and unnatural state I chose
00:28:27
being an artist / being a wife now I'm
00:28:31
gonna lead a very lovely life life life
00:28:34
life life life life life life why like
00:28:39
why I hate my beautiful leaves white
00:28:45
pristine minerals
00:28:48
Oh
00:29:10
like
