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BECAUSE feminism requires the participation of all peo-

see gender as a spectrum instead of two sets of op-

ple. BECAUSE our desire to be treated as an equal and

posing ideals. BECAUSE there is pressures at both ends

as a human being should not be interpreted as hatred

of the spectrum to be either masculine or feminine

of men but rather as a request to be included and re-

and those stereotypes inhibit self-expression. BECAUSE

spected. BECAUSE we want to change the perception

we have to reclaim feminism and move away from

of females in music being a novelty. BECAUSE we ac-

the notion that feminism is a bad word. BECAUSE we

cept our femininity and embrace it whole-heartedly.

need more feminist role models of all genders, age

We are women, we are proud to be women, and no one can dictate nor can they be allowed to control our femininity. BECAUSE beauty does not give anybody the right to

and race. BECAUSE nobody’s gender should change how their creative output is received or criticised. Gender isn’t a genre. BECAUSE



never be used against any-

objectify us – we are the

body to silence

ones that possess the

our arguments, lessen our

power over our bodies

sense of being and

BECAUSE it’s depressing


that feminism still has to

BECAUSE we’re not per-

be an issue just as much

fect feminists but we want

as a lot of people think that it already a solved issue and gender equality has already been acquired.

to learn with you and contribute to the dialogue. BECAUSE it’s not “fuck me”, it’s “fuck you”.

[BECAUSE we don’t want to start arguing and becoming aggressively rude towards a person who disapproves being a feminist and equal-

The HEROINE MANIFESTO takes inspiration from the

ity. Instead we want to ask: “Why?” - Educate the


unknowing.] BECAUSE we can like pink and listen to

Editor’s Letter. “The Riot Grrrl Movement began in the

hard-core and be feminists all at the same time. There

early 1990s by Washington State band Bikini Kill and

is no feminism that excludes those women, or any

lead singer Kathleen Hanna.The riot grrrl manifesto

women or any gender! BECAUSE it is time that we all

was published 1991 in the BIKINI KILL ZINE 2”

+ founder & editor in chief Kat Ober

+ design & corporate Identity and illustrations Christiane Matz

+ contributors Eva Earwaker, James Hoare, YĂŠssica Klein, Hitoe Kobayashi, Christiane Matz, Daniel Morris, Ollie Reimann, Itzel Sanclemente, Jenny Schleifer

+ proofreading Grace Emery, Kat Ober

+ special thanks to Alanna McArdle, Andrew Milk, Angela Won-Yin Mak, Anya Oderyakova, Daniel Nellis, Daniel Pickard, Feature, Isabel Albuquerque, Joey Fourr, Joanna Flaczynska , Skinny Girl Diet, Suzy Creamcheese

CONTACT N16 7UN London @frocknrollmag


All rights reserved. This publication may not be reproduced or transmitted in any form, in whole or in part without the express written of FROCK&ROLL. While every effort is made to ensure the information is this magazine is correct, changes may occur which affect the accuracy of the copy, for which FROCK&ROLL holds no responsibility. The opinions of the contributors do not necessarily bear a relation to those of FROCK&ROLL



HEROINE MIXTAPE BY JAMES HOARE East London based James Hoare has a finger in every

her breakthrough track. Its beauty, sparse sound,

pie, he is not only crafting delicate pop tunes for Ve-

dark intriguing lyrics and haunting strings made it a

ronica Falls but also for The Proper Ornaments as well

radio hit and Gentry a well-deserved star.

as for Ultimate Painting. However the musician found the time between touring and writing songs to rum-

Skinned Teen - Pillowcase Kisser

mage through his endless record collection in order

At the forefront of the UK Riot Grrrl scene. Skinned

to put together a mixtape for FROCK+ ROLL’s second

Teen were unfortunately short lived but had lasting

issue. The Heroine mixtape is featuring handpicked

impact. Their debut LP is still easily available new at

gems with feminist offerings.

record shops.

Julie Ruin - VGI

The Frumpies - We Don't Wanna Go Home

Kathleen Hanna - a feminist activist, an inspiration.

A classic track from Tobi Vail's The Frumpies. a band

She recorded this in her attic with a four track and a

this good should have never have stopped making

drum machine. I think Ad-Rock was quite rightly prais-


ing this album in the recently Kathleen Hanna film ‘The Punk Singer’.”

Dolly Mixture - Will He Kiss Me Tonight Of the Demonstration Tapes double LP. Dolly Mixture

Bobbie Gentry - Ode to Billy Joe

were undoubtedly one of the best bands of their

Bobbie Gentry was famously one of the first female

time. Three girls from Cambridge with excellent song-

country musicians to write her own songs. This was

writing skills and an ear for tasteful arrangements.

I re-issued this LP in 2009 to coincide with a film made

the track ‘Maybe’. Unfortunately modern pop music

about the band by the singer Debsey's partner Paul

isn't in the same league as it used to be.

Kelly. Finally Punk – Boyfriend Application Neo Boys - Poor Man's Jungle

Finally Punk do not exist anymore. This really is a

Recently re-issued by Calvin on K Records, Port-

shame as they were brilliant. You can clearly hear

land's first all-female punk band. Originally released

them channelling Kathleen Hanna, Tobi Vail etc. This

on Greg Sage's Trap label. Their recordings sound

is off the Casual Goths LP, I relased a few years ago,

fresh and exciting and their political/feminist lyrics

which is a collection of three 7"s and unreleased/rare

inspirational. These days they are quite rightly held in


very high regard and cited as an influence by many groups.

The City - Paradise Alley Carol King's first band after moving to LA post the

New Haven Women's Liberation Rock Band – So Fine

Gerry Goffin divorce. King balanced family life and

The NHWLRB were members of two women's move-

a high profile music career. She started writing songs

ments (Chicago and New Haven) they set out to

with Goffin in the late ’50s at a time when very few

make music completely opposed to the male, sexist

women worked in the music industry, paving the way

rock dominated scene of the late ‘60s. Installing femi-

for others to follow.

nist lyrics into their songs, they sought to educate and challenge with a sense of humour and free sense of

Shopping - For Your Money

direction in their musical output.

All the singers featured on this mix tape are female apart from this one. Shopping are Rachael (Trash Kit),

Cadallaca - Your One Wish

Billy (Wet Dog) and Andrew Milk. This is my favourite

If you don't know this band the vocals will immedi-

songs of theirs; slower and more experimental.

ately sound familiar as it is Corin Tucker from SleaterKinney. Showing more of an early ‘60s girl group influence than Sleater-Kinney. Three Degrees - Collage All female Philadelphia soul group. This is the B-side to

Text: Kat Ober & James Hoare Illustrations: Christiane Matz CLICK HERE TO LISTEN TO THE MIXTAPE

GIRLS TOGETHER ONLY The term ‘muse’ roots back to Greek mythology,

Immerse yourself in our selection of highly inspiration-

poetry and literature; they are the goddesses of the

al women; women who not only inspired songs, lyrics

inspiration of literature, science and the arts. Muses

or looks but entire movements. These are women

were considered the source of knowledge, relayed

who pushed boundaries in their own right.

orally for centuries in ancient culture that was contained in poetic lyrics and myths. Nowadays muses


might be referred to as band-aids, friends, partners

“There’s a woman who can sing some rock and roll. I

and wives – or simply inspirational women; women

mean, she’s singing religious music, but she is singing

who not only inspire albums and songs, but entire

rock and roll. She’s ... shakin’ man ... She jumps it.

movements, libidos and emotions. Kathleen Hanna

She’s hitting that guitar, playing that guitar, and she is

is right by saying: “You learn that the only way to get

singing.” Jerry Lee Lewis

rock-star power as a girl is to be a groupie and bare your breasts and get chosen for the night. We learn

Sister Rosetta Tharpe, labelled the Godmother of

that the only way to get anywhere is through men

Rock n' Roll, started her early career as a gospel

and it’s a lie.”

singer in her local church in Arkansas. She was the

figure that introduced the spiritual passion of her

At the height of her career America was still a highly

gospel music background into Rock & Roll. One of

segregated society, but Rosetta was defying con-

the pioneers of 20th century music - a flamboyant,

ventions being a black woman in music and trying to

larger-than-life figure who fused gospel and blues

break the mould; making herself a name with show-

into something new: Rock n' Roll.

ing off her flamboyance, skill, and showmanship on

Tharpe's unique guitar style blended melody-driven

the newly electrified guitar. She wasn’t just a woman

urban blues with traditional folk arrangements and

who played guitar—she helped invent the whole

incorporated a pulsating swing sound that is one of

concept of rock lead guitar.

the first clear precursors of Rock n' Roll. Her fingerpicking and string-bending playing style was not only an influence to Elvis or Chuck Berry, but also Aretha Franklin, Jerry Lee Lewis, Johnny Cash, Little Richard and Tina Turner. Elvis was particularly influenced by Tharpe, while white gospel singers affected Elvis’s ballad style; black spiritual singers were a major influence on his rock and roll style replete with movements. Every day Elvis would rush home from school in Tupelo to listen to Rosetta Tharpe and other singers on WELO’s daily half hour of black gospel. According to his school friend, Billy Welch, Elvis would never miss a show. Tharpe was signed to Decca Records in 1938 and was successful immediately. Versions of Thomas A. Dorsey’s “This Train” and “Hide Me in Thy Bosom,” released as “Rock Me,” were smash hits featuring Tharpe on guitar and Lucky Millinder’s jazz orchestra as accompaniment. These releases started a trend for Tharpe, who recorded both traditional numbers for her gospel fan base and up-tempo, secular-influenced tunes for her growing white audience.


ing white robes and staring into each other's eyes on

“A dream you dream alone may be a dream, but a

acid. Yoko became a constant companion to John

dream two people dream together is a reality,”

which was highly unorthodox to the other Beatles. They got married in 1969 and spent their honeymoon

Yoko Ono, the “world's most famous unknown artist”

in Amsterdam, staging their first famous "bed-in” and

is a Japanese multimedia artist, singer, songwriter

started to combine political activism with perfor-

and peace activist. The second wife and widow of

mance art. Yoko is often blamed for breaking up the

John Lennon has always been an opaque figure in

Beatles - a gross simplification and utter nonsense.

the music, avant-garde art and filmmaking worlds.

Tension within the group had run high ever since the

Lennon described her best by stating: “Everyone

abrupt drug-induced death of Beatles' manager

knows her name, but no one knows what she

Brian Epstein, which left a gap in the band's leader-

actually does". Yoko’s experimental art was never

ship and all of the members trying to focus on solo

popularly understood. However, in John she found

projects. Lennon's increasing artistic infatuation with

a kindred spirit who was impressed by her progres-

Ono and her comments in the recording studio surely

sive, decidedly offbeat art. When he visited Indica

only served to increase the discontent between the

Gallery in 1966 he was expecting some kind of arty

members. However, it was much more than her pres-

sex orgies but instead found himself on a ladder with

ence that was leading to the end of the Beatles trip.

a spyglass at the top. When looking through it, he

On April 10, 1970, Paul made the official announce-

saw the tiny word “yes” and found it exceptionally

ment that the Beatles were finished as a unit and that

positive, given that most concept art at this time was

he was leaving the band – not without John being

"anti" everything. Still he labelled Yoko as some "crazy

furious at Paul getting credit this way. Yoko Ono was

artist" who wanted to be sponsored, especially when

Lennon's muse and partner, inspiring his music and his

his then wife Cynthia found letters that made it clear

creative side, for the rest of his life.

that they were in close contact. Meanwhile Ono was doing everything to be in the company of John, from


queuing with groupies outside Abbey Road Studios

"I just wanted him to pay attention to me. Talking to

to climbing into the backseat of John's limousine,

him was like talking to a chair."

impertinently placing herself between Lennon and

Too drastic, too crazy, too damaged —Valerie Sola-

Cynthia. When his wife arrived back from a holiday

nas was the woman who wrote the SCUM manifesto

earlier than expected, she discovered Lennon and

and shot Andy Warhol. She became a figurehead for

Ono sitting cross-legged on the floor, wearing match-

women’s unexpressed rage when circulating among

feminists and the countercultural Factory under-

clinically dead for 1 1/2 minutes before being revived

ground scene. Valerie was repeatedly molested by

by cutting open his chest. After being taken to a

her father as a child and became pregnant at the

psychiatric ward for observation, Solanas pleaded

age of 15, eventually ending up in New York in 1966,

guilty and was sentenced to three years in prison

supporting herself through prostitution and panhan-

for "reckless assault with intent to harm". She was

dling. She submitted a play called ‘Up Your Ass’ to

represented by radical feminist lawyer Florynce Ken-

Warhol in early 1967, which he lost. When she asked

nedy who called Solanas "one of the most important

him for money, he offered her to come to the Fac-

spokeswomen of the feminist movement." During the

tory for a movie shoot, to which she agreed. During

‘70s Solanas was in and out of mental institutions, and

that time she self-published her manifesto, SCUM –

died in 1988 from emphysema and pneumonia in a

short for the “Society to Cut Up Men”, a radical femi-

welfare home at the age of 52. Prostitutes who knew

nist manifesto. It argues that men have ruined the

her from that time recall that she looked elegant and

world and that women should overthrow society and

slender in the silver dress that she always wore when

eliminate the male sex. According to Warhol confi-

working the street.

dante Paul Morrissey, Solanas had signed a contract with Maurice Girodias from Olympia Press which was


a "stupid piece of paper, two sentences - I will give

"Let me stand to show that you are blind, please put

you five hundred dollars, and you will give me your

down your hands , 'cause I see you"

next writing, and other writings." Solanas thought that Girodias had appropriated all of her written material

Nico, born as Christa Päffgen, was a German singer,

and that Warhol wanted Girodias to steal her work

fashion model and actress. She dabbled throughout

for his use without paying her. On June 3, 1968 Sola-

her teens in modelling and film before becoming a

nas went to the Chelsea Hotel where Girodias lived

worldwide known Warhol Superstar in the 1960s. A

and asked for him. He was gone for the weekend

striking, icy beauty, Nico soon became a star model

so she went to the Factory to wait for Warhol. When

in Europe and got involved with drugs from her early

Andy and other Factory members arrived she went

years. She managed, however, to meet the right

up with them, took a 32 automatic out of a paper

people that were influential enough to push her ca-

bag and shot Warhol three times. Thinking she had

reer. In 1965 she hung out with Brian Jones, Bob Dylan

killed him, she fired at other Factory members. All of

and the like before Warhol convinced the Velvet

them survived, however the scene at the Factory

Underground that the magnetically controlling Ger-

was "total mayhem." Andy Warhol was pronounced

man should be the band’s chanteuse. Particularly

Reed and Cale found this highly repugnant and

was fleeting, her charismatic voice, possessing the

decided to give her a hard time from the start. With

range to fluctuate from vulnerable to vampy, is im-

paranoia being the dominant theme on the Factory

mortalised in the band’s scathingly beautiful debut

floor this was particularly successful. Despite Reed’s

album "The Velvet Underground & Nico".

distaste for Nico, the two had a strange, almost sadomasochistic relationship, both consummated and constipated. Reed started to write psychological love songs for her - one of the best known being “I’ll Be Your Mirror". While she kept singing it in her strident, raspy and monotone voice, they made her do it over and over again until she broke down and burst into tears. The irony is the band loved her rendition so much, that they continued to perform it in her German accent, even after Nico was long gone. Nico’s voice was always a constant point of debate. To some, she could barely hold a note, to others, it is horrendously off-key and fascinating. Her frantic heroin addiction would plague the rest of her life, putting a dent in her recording career. Nico's membership in the group did not outlast 1967. She was again appearing as a solo performer assisted by a remarkable succession of accompanists, including Cale, Reed and the Velvets, Ramblin' Jack Elliott, Tim Buckley, Tim Hardin and a 17-year-old singer and guitarist named Jackson Browne, with whom Nico had embarked on an affair. Shortly before her death, Nico stopped taking heroin and began a methadone replacement therapy combined with a regimen of bicycle exercise and healthy eating. She passed away in 1988, following a cycling accident in Ibiza. Although her role in the Velvet Underground


a year later, at the young age of 21. George Harrison

"I first saw the Beatles in a dark, filthy cellar ... not the

was actually the first of the later Fab Four to wear the

kind of place where young ladies in the '50s or '60s

Beatle cut. Astrid recalled "George came along and

were seen"

asked me to cut his hair that way." John and Paul followed soon after on a vacation to Paris where

Astrid Kirchherr, a German photographer and artist, is

they encountered their old Hamburg friend Jürgen

well known for her association with the Beatles during

Vollmer and asked him to give their hair the combed

their Hamburg days where they were under contract

over treatment.

to play seven hours a day at the Kaiserkeller Bar in 1960. While a special friendship emerged between

During the 1960s Kirchherr’s photographs of the

her and the original band members, Astrid Kirchherr

Beatles were printed all over the world. However,

fell in love with original Beatles bassist Stuart Sutcliffe

she missed out on large amounts of revenue owed

and later got engaged to him.

to her after failing to assert her rights as owner of the photographs.

Astrid Kirchherr's lens caught the members of the Beatles as they transitioned from fresh-faced teen-


agers to rock icons beginning to feel the weight of

Suze Rotolo was the artist and communist responsible

their immense fame. As impressed as she was by the

for introducing Bob Dylan to politics of the left and

colorful personalities and hair styles of the original

who first made him aware of the labour and civil

band members, Astrid also exerted her own stylistic

rights movement. She was 18 when they met and led

mark on each of them. "Astrid was the one who

him to the art of poets and writers, such as Rimbaud

influenced us more than anybody," George Harrison

and Bertolt Brecht. They shared the cover of his al-

said, "She made us look great." Using Jean Cocteau's

bum ‘The Freewheelin’ and a most iconic relationship

1950 film Orpheus as her main inspiration, Astrid is

from 1961 to 1964.

credited inventing the famous Beatles moptop, giv-

Rotolo's father had died a sudden death in 1958,

ing her boyfriend Stu the new haircut, which back

followed by her mother’s alcoholism. She had then

then lots of boys at her art school sported. When

begun to seek evasion in Sunday trips to Washington

Stuart came onstage to perform that night, John and

Square in the Village, where folk musicians, poets

Paul laughed hysterically and ridiculed him. In early

and political activists submersed in anti-establishment

1961 he left the band to continue his art studies in

art and verse. At 17, she caught the subway from

Hamburg, and died tragically of a brain hemorrhage

Queens to the Village and stayed there.

She first met Dylan at a Riverside Church folk concert

didn’t matter where you came from but where you

in July 1961. Describing their meeting in his memoir

were going through expression.”

‘Chronicles, Volume One’ Dylan wrote: “She was the

Rotolo escaped being overshadowed by her rela-

most erotic thing I’d ever seen. She was fair skinned

tionship with Dylan. Her artistic creativity and the re-

and golden haired, full-blood Italian. The air was sud-

tenton of her political integrity were what she strived

denly filled with banana leaves. We started talking

for; and the sixties for her were “an era that spoke a

and my head started to spin. Cupid’s arrow had whis-

language of inquiry and curiosity and rebelliousness

tled past my ears before, but this time it hit me in the

against the stifling and repressive political and social

heart and the weight of it dragged me overboard.”

culture of the decade that preceded it.”

To her family’s disapproval, they started living togeth-

Remaining politically active, Rotolo joined the street-

er in early 1962. Then, as Dylan's fame grew, Suze was

theater group Billionaires for Bush and protested at

the one who got bothered by the situation. “I could

the retain in Manhattan.

no longer cope with all the pressure, gossip, truth and

Rotolo died of lung cancer at her home in New York

lies that living with Bob entailed. I was unable to find

City's NoHo district on February 25, 2011, aged 67.

solid ground. I was on quicksand and very vulnerable.” she stated.


Rotolo then left New York in June 1962, with her moth-

“There are so many dreams beyond our nights, and

er, to spend six months studying art under the name

so much sunshine beyond our gray walls. But we

Justine Rotolo in Italy. This separation also became

can't see it when we stay at home”

subject of Dylan's creation in the form of love songs. However, their relationship failed to survive; an abor-

Musician, model and muse - Parisienne Françoise

tion as well as Dylan's affair with Joan Baez and the

Hardy is the epitome of the Sixties Parisian chic. Har-

hostility of the Rotolo family strained the relationship

dy touched the ‘60’s world with her ‘girl next door’

and the couple broke up in 1964.

charm, she was highly sought after by all fashion

In her book ‘A Freewheelin' Time,' Rotolo later de-

houses. The young Françoise formed deep friendships

scribed the Greenwich crowd as follows: “People

with Yves Saint Laurent and Paco Rabanne, whilst

of amazing appearance in earnest conversation in

gracing the covers of Elle and Vogue. She began

smoky cafes and bars. People who believed that

writing songs in her free time, inspired by the music

they could change perceptions and politics and the

she heard on the radio, and was catapulted to fame

social order of things. We had something to say and

overnight when Vogue Records signed her with

believed that the times would definitely change It

the hit ‘Tous les garçons et les filles’. The introverted

songstress lamented about ’tous les garçons et les

and confident were all high.”

filles de mon age’ – having boyfriends and girlfriends

Though still happily married to Jacques Dutronc,

while she had no one. Despite her famous admir-

Françoise and her partner choose to live apart from

ers, Bob Dylan and Salvador Dali, as well as Anita

each other for much of the time. Whether Hardy

Pallenberg (who was fascinated by the introverted

stayed away from the limelight, or visited the world

artist’s look and tried to dress Brian Jones as a double

of fame, she managed to remain a dedicated and

of the French chanteuse), it wasn't until Mick Jagger

creative artist. The fancy clothes, hectic touring

described her as his ideal woman that she thought of

schedules and her icon status couldn’t change one

herself as attractive. Bob Dylan, who famously wrote

thing: her honest and charming simplicity.

a poem about her on the cover of his LP ‘Another Side of Bob Dylan’, did not stand any chances, with


Hardy saying "I had no interest in him as a man, only

"She knew everything and she could say it in five

as an artist".

languages. She scared the pants off me." Keith Richards

After Françoise Hardy, France's biggest export after Brigitte Bardot, forgot lyrics to one of her songs at

Anita Pallenberg is an Italian born actress, model and

a gig in London 1969, the pop singer gave up live

fashion designer with German roots who became

performances for good and became a studio artist

one of the most famous muses in rock history by cap-

instead. Hardy disliked travelling and had already

turing the hearts of at least two Rolling Stones. Tour-

found that the life of a touring musician didn't suit

ing the world with the band, she influenced not only

her. She had also just begun a relationship with the

their music and stage presence but their lives with

singer and actor Jacques Dutronc and resolved

her interest in the occult, fashion and heavy drugs.

not to let her career get in the way of her personal

A striking beauty from a young age, with a long,

life. Even though she rubbed shoulders with some

lithe body and beautiful feline eyes, she had only

of its biggest stars, including the Beatles, the Animals

to walk along the street to cause a string of traffic

and the Rolling Stones during the swinging sixties in

accidents. But Pallenberg impressed the aristocratic

London, she was never quite comfortable and too

London scene with more than her looks and “evil

shy to actually talk to them: “They all seemed very

glamour”, and had a knack for hanging out with the

strange to me, the way they behaved. I didn't know

hippest movers and shakers. She rubbed shoul-

anything about drugs; I was very naive. I found out

ders with Rome’s Dolce Vita crowd, was a regular

that all these musicians that seemed so charming

face at Andy Warhol’s Factory and met the Stones

backstage in Munich in 1965 which proceeded to


change her life for good. Her well educated, enig-

"Wild horses couldn't drag me away." Rolling Stones

matic and thoroughly modern charisma caught Brian Jones' attention immediately. From this moment on

The ‘60s fashion icon, singer and actress Marianne

Anita played an unusual role in the male-dominated

Faithfull is someone who has walked through all doors

world of rock music, acting as much more than just a

of perception. Not ashamed of any of them, her

groupie or partner of a band member. The following

experience became art: her persona.

two years were spent in a haze of drugs and passion

The wide-eyed, innocent, convent-educated girl be-

which led to a futile attitude towards one another,

gan her singing career in 1964, landing her first gigs

and yet they were becoming almost identical in style

as a folk musician in coffee houses. She soon began

of hair and dress, forging the revolutionary androgy-

taking part in London's exploding social scene of the

nous 60s look. Keith Richard witnessed this terrible

Swinging Sixties. In early 1964 she attended a Rolling

scene and was gentlemanly in stealing Anita away

Stones launch party with soon to be husband John

on a trip to Morocco. Their subsequent 12 year rela-

Dunbar and met The Rolling Stones manager Andrew

tionship has since been well-documented with the

Loog Oldham.

two sharing love, wardrobes and narcotics. It ended

Her first major release, ‘As Tears Go By,’ written by

in 1980 with the Scott Cantrell incident being the final

Jagger, Richards and Oldham, became a massive

straw. The seventeen-year-old boy was found dead

chart success, and shortly after giving birth to her

in Anita’s bed, allegedly killing himself while play-

and Dunbar’s son she got sucked into the vortex of

ing Russian roulette with a stolen handgun in Keith

rock ‘n’ roll. She then left her husband and moved in

Richard’s estate whilst he was in Paris recording with

with Brian Jones and Anita Pallenberg. Faithfull soon

the Rolling Stones. The teenager had been employed

started a highly publicised relationship with Mick

as a part-time groundskeeper at the estate and was

Jagger. The notorious couple caused uproar in the

involved in a sexual relationship with Pallenberg who

tabloid media, when police were searching Keith

was arrested; however, the death was ruled a suicide

Richards' Sussex mansion in February 1967 and fa-

in 1980, although Cantrell's family bitterly contested

mously found Marianne wearing only a fur rug. "Wild

that. To say Anita Pallenberg has led a life of excess

horses couldn't drag me away," she said to Mick after

would be an understatement. However, her lifestyle

waking up from a drug-induced coma in 1969. It

and personality allow one to label her as the embodi-

was after that that the pair wrote Rolling Stones song

ment of the ultimate 60s rock and roll muse.

‘Wild Horses’, for which she never received credit. Faithfull was involved heavily in Jagger's life and

would be the main influence for some of the Rolling


Stones' best known songs. ‘Sympathy for the Devil’,

“What will happen to us?" I asked. "There will always

was in part inspired by 'The Master and Margarita' by

be us," he answered.”

Mikhail Bulgakov, a book which Marianne Faithfull introduced him to. The song ‘You Can't Always Get

Patti Smith was a muse for many, not only in music for

What You Want’ was supposedly written about Faith-

her gritty punk rock poems, but also in photography

full; and she co-wrote ‘Sister Morphine’. But she did

and style. Patti Smith is not 'the female Bob Dylan'

not only have an impact on the musical output of

or 'the most dynamic female artist of all time'; she is

The Rolling Stones, allegedly ‘And Your Bird Can Sing’

simply a unique performer, stunning songwriter and

by The Beatles is written about her and Patti Smith

superb vocalist who has stayed at the cutting edge

entitled one of the chapters of the 1978 book Babel

of contemporary music for more than 30 years. She

‘Sister Morphine’.

is often referred to as the "Godmother of Punk” for

Yet Mick Jagger was not the only Rolling Stone

her work, a fusion of rock and poetry, but when she

Marianne was involved with; in retaliation for his

first came to New York as a young, desperately poor

affair with Anita Pallenberg, Keith Richards got with

poet from southern New Jersey, her future did not

Marianne, who had to leap out of the window when

look too bright. Without money and no friends she

Mick returned home early. Marianne, who famously

eventually found a job working in a bookshop, the

recalled those times saying “He loved me all along,

place where she met Robert Mapplethorpe.

but I didn’t know that”, believed she and Richards

“I imagined myself as Frida to Diego, both muse and

could have had a true romance if they had not

maker. I dreamed of meeting an artist to love and

already been romantically linked with other people

support and work with side by side.” It is their friend-

at the time.

ship where the almost mystic legend begins; Smith

After her whirlwind romance with The Rolling Stones

succeeded with her music and Mapplethorpe with

ended Faithfull’s life spiraled out of control, and as

his photography. Patti Smith had found an inspired

a heroin addict she spent a couple of years on Lon-

and equally determined collaborator in Mappletho-

don’s streets and various other places until a near-

rpe. The two struggled to pay for food and shelter,

death experience in New York in the 1980s made her

looking out for each other and sacrificing everything

seek help.

they had for the purpose of making art. She was his

‘The Girl on a Motorcycle’ continued acting and

first model, a fact that she says still fills her with pride

making music and managed to fight cancer. She is

as the photographs he took contain a depth of mu-

an ode to living a life of extremes.

tual love and trust inseparable from the image.

His work magnifies his love for his subject and his

DJ Jeff Dexter, who regularly played at the Orchid

obsession with light.

Ballroom in Purley, vividly remembers the beautiful

He also was the one responsible for introducing her to photographer Judy Linn, who was attending Pratt Institute in 1968. At first, the two women drew together. Then they started taking pictures. “We were two girls with no-one to please,” Patti Smith recalls. Smith, who was also examining films and fashion, became Linn’s muse. But of course Patti Smith was also an idol for many musicians, paving the way for female musicians to create their own art not be reluctant from their own individuality, to not shy away from being a woman in music. She did not champion girls, she championed the individual. IGGY ESKIMO “I really love you and I mean you, The star above you, crystal blue. My hair's on end about you” Terrapin – Syd Barrett If there is one image of Syd Barrett that never ceases to fascinate it's the back cover of his debut album, The Madcap Laughs, mainly because of the mysterious naked woman featured in the background. In the Swinging 1960s the girl only known as Iggy was an iconic model who was hanging out with The Beatles, The Who, The Rolling Stones, Hendrix and Rod Stewart long before she moved in with Pink Floyd’s Syd Barrett and suddenly disappeared off the face of the earth.

THE GTO’S girl who used to talk to him while he played his set. He first noticed her in 1963. He says: "Iggy was part of a group of very wonderful looking south London girls. She was very mysterious; she was unusual because she did not look like anyone else at the time. Since she disappeared, she has become a bit of an enigma". Director and artist Anthony Stern met her in 1967 and took many pictures of the model. He says: "Iggy was my muse. I met her at a Hendrix gig at the Speakeasy. She was a lovely inspiration and free spirit. I never knew her real name. We used to hang out together, occasionally dropping acid, staying up all night, going for walks at dawn in Battersea Park." Iggy, whose real name is Evelyn, met Barrett in the summer of 1966 through Barrett's then-girlfriend, Jenny Spires, who is responsible for Iggy The Eskimo drifting into the Floyd's social clique by showing up at the UFO club nights where Pink Floyd played regularly. Spires also was the one suggesting that Iggy move in with Barrett at Wetherby Mansions, which later became the location for the famous album cover. Both Syd and Iggy painted the floor of his bedroom orange and purple for the photo shoot, shortly after which she broke up with Syd and moved out. When she returned later, Syd Barrett’s former flatmate painter Duggie Fields told her: "Syd's not here. He's gone back to Cambridge. Don't bother trying to find him."

“I see all the people I want to see. I be all the people I want to be” Permanent Damage – The GTOs Even though the word “groupie” or “band aid” are usually not associated with feminism or a positive force for women, the term groupie is not only linked to free spirit, promiscuity and female sexuality since movies like “Almost Famous”. As women gained more equality, in work and otherwise, the groupie label fell. They became simply known as models, artists, or whatever it is they are passionate about. However, the hobby of sleeping with musicians still exists with its own culture. And it is a hobby that does not necessarily need to oppose feminist ideals. One of the most famous groupie collectives is certainly The GTOs, who were a band despite none of them being able to sing or play instruments. They were hanging out with Led Zeppelin, Jimi Hendrix, The Rolling Stones, and were known as the girls you would want to meet if you were a musician. Girls Together Outrageously, or The GTOs for short, were an infamous and renowned "groupie group" that consisted of Miss Pamela (Pamela Des Barres), Miss Sparky (Linda Sue Parker), Miss Lucy (Lucy Offeral), Miss Christine (Christine Frka), Miss Sandra (Sandra Lynn Rowe), Miss Mercy (Judith Edra Peters) and Miss Cynderella (Cynthia Wells). The group hailed from the area around Los Angeles in the late 1960s, with most of the girls being denizens of the Sunset Strip scene. Originally known as "The Laurel

Canyon Ballet Company," they changed their name to The GTOs on the advice of Frank Zappa, their financial supporter and producer. The members were connected by their association with Zappa, a complex musician who encouraged their artistic endeavors, despite their limited vocal skills. Performances by the group were infrequent, although they created a strong impression at their 1968 performance at the Shrine Auditorium. A mix of theatrics, singing and dance were staples of their act. The GTO’s owned being groupies, and they owned their creativity as well. Aside from spoken word and music performances, the GTO’s were said to have had a hand in men’s careers, and are credited with coming up with Alice Cooper’s signature look. Cynthia would go on to be a thirdwave feminist darling as her plaster casts of rock-star penises have been shown in countless feminist art shows. Text: Kat Ober, Jen Schleifer & Itzel Sanclemente


NOVELLA Novella’s days as a trio lie in the past, Sophy Hollington, Hollie Warren and Suki Sou are now being completed by Iain Laws on drums and Isabel Spurgeon on keys. The original members met in Brighton and formed the band in February 2010 after moving up to the capital. After spending months in each other’s bedrooms writing and listening to bands like Polvo, Guided by Voices, Broadcast, Calico Wall and My Bloody Valentine, they decided to put a band together themselves. Novella combine a guitar sound of Pixies-inspired crispness with a wallowing dirge of noise full with grrl power confidence, set off by melodic, slow-building half-instrumental mesmerising sounds. Singer Hollie Warren told us about soundchecks and first gigs.

Can you remember the first gig you went to?

who has a facebook page dedicated to him appar-

My dad used to play in a pub band, so it was prob-

ently, who’s famous for standing at the front dancing

ably going to see him. I’d be a little roadie and help

to bands. No one else was really paying attention to

him pack up at the end of the night.

us, so it was nice to have some love, though a little

Whose sound check would you like to sneak into?


Soundchecks can be a little dull to be honest; I’d probably go for someone who was doing some big arena show or something. Oh, since I didn’t get tickets, I’ll go for one of Kate Bush’s upcoming shows. If you could choose an ideal gig line-up who would make it on the bill? I’m going to take liberties here and presume I can choose bands that don’t exist anymore: Velvet Underground, Stereolab, United States of America, Ty Segall & White Fence, John Fahey, Moon Duo, Neil Young & Crazy Horse, Patti Smith Who’s the best band you’ve seen live? Waaaaahhhh…I dunno, Sonic Youth on New Years Eve a few years ago were pretty amazing. What is the funniest thing to happen to you at one of your gigs? Few years ago we played a pretty funny show at the Lock Tavern on a Sunday afternoon – virtually no one


there except a drunk middle aged woman who con-

What do you reckon the grimiest place you’ve ever

sumed a bottle of wine and a roast dinner and then

played is?

stood in front of us the whole way through the gig

I wouldn’t say grimey, I’d say charming… we’ve

dancing with her eyes closed at the side of the stage,

played the Shacklewell a gazillion times, which has a

and on the other side was a guy wearing sunglasses,

certain grimey charm to it.

How has your sound changed since you began gigging regularly? Well… I’d say our sound has changed whilst we’ve been gigging regularly. We’ve been playing shows and writing together for quite a while now. I guess it’s changed because we’ve got a lot better at playing our instruments and at playing together, and I guess the most significant change is the experimentation with different sounds and noises; before we were just generally quite loud. What will the future hold for Novella? We’ve just finished our first album, which will come out sometime next year Was there a particular reason that there is mainly girls in a band? No. We’re a band of people who like each other and like making music together, and the rest is irrelevant

Text & Interview: Kat Ober


“To make riot grrrl move into the future in a new way with a bunch of new names and a bunch of new energy, younger people have to learn about it and apply it to their own lives and own modern conversation. And they are.” Kathleen Hanna Females in bands still struggle to get taken seriously due to their gender; the dominance of male voices in music criticism is omnipresent. The terms ‘boy band’ and ‘girl band’ are both derogatory, but with one key difference: when the term ‘boy band’ is used, it is to describe a particularly specific genre of music. The term ‘girl band’, on the other hand, is used to describe any formation of females in the music industry in general – with all sorts of different genres lumped together in one big category. Kurt Cobain once said, “The future of rock belongs to women.”, however the future of rock should belong to everybody who has something to say. In the following interviews, we asked a number of people the same questions about feminism, misogyny and patriarchy, receptions of looks and so on, because one of the answers we received quoted below shows, these topics are necessary to talk about.

“I feel like I should preface my answers by admitting how afraid I’ve felt to speak about this subject. It made me realise that there’s a part of me that doesn’t want to draw attention to the fact that I’m a woman. I’ve always hoped that the hard work, time and love I put into what I do will quietly do its own job and resonate with some people. But the very fact that I feel scared to voice my opinions indicates an inequality. So for that reason I decided I should push myself to answer these questions.” + Do you identify as a feminist? If so, how do you define feminism for yourself?

I wanted it to be very detailed. And there are far more details I could go into about what I want

Absolutely, yes. I think that feminism can’t and

feminism to be, but I suppose that’s essentially it. To

shouldn’t be seen as a monolith; there are so many

me feminism means inclusivity, fighting to protect

different kinds of feminism that people align them-

every woman, working to get women’s voices heard

selves to, and even within that, so many personal

and to get women better represented in all areas,

differences of definitions. There are a lot of types of

and supporting all women to achieve socially and

feminism that I have no interest in aligning myself to

economically while fighting against the constant bar-

like trans-exclusionary feminism and non-intersec-

rage of injustices and violence that women face on

tional feminism which excludes and ignores people

a daily basis.

of colour and queer people and other marginalised groups. And it’s really important to recognise the fact

+ Would you say that misogyny and patriarchy are

that there are feminists and feminist ‘movements’

pervasive issues you have to deal with as

that are very far from perfect, or very far from what

a musician?

you personally believe. Personally, I think feminism should aim to elevate all women and eliminate mi-

Of course, I think it’s hard to find many areas or

sogyny, transphobia, racism and homophobia. I was

industries that escape the influence of a racist,

thinking a lot about the definition I was going to give;

queerphobic patriarchy. Whenever I say anything

like this- which I often do- I get told I’m being a pes-

racist, transphobic mainstream idea of feminism into

simist, or overlooking the positive changes that are

a brand, and into something that people see as dis-

happening in the music industry (or the rest of the

posable. I feel like that’s sort of seeping into music as

world for that matter), but actually I’m just being

well. Or maybe it was always like that, I don’t know.

realistic and I’m refusing to settle. I’ve previously

But what I do know is that people- and mostly men-

been accused of making women out to be ‘victims’;

seem to love bandying the word ‘feminism’ around

one time I was even told I was belittling the achieve-

until they actually have to be accountable for their

ments of some female musicians by talking about my

actions, and that applies 100% to music industries

experiences with sexism in music. It’s kind of like, “oh

and scenes as well.

here we go again, not another woman complaining. Haven’t we already given them enough?”. That’s how I see it. Being told I’m portraying women in mu-

+ Along those lines, do you think women in music are

sic, or women anywhere as victims by speaking out is

in a better position now than they were in the past?

something I find really insulting but also totally bizarre and misguided. 99.9% of the time people who react

Well, I mentioned this a little in the last question, and

in this way are men, and that’s because they feel

yeah I suppose in many ways things are better for

like they have the most to lose when things change.

women in music. But I think it’s quite dangerous for

They don’t want change because it means they’ll

people to be thinking in black and white terms like

stop getting away with sexist bullshit all the time. I’m

this because it sidelines the need for continuous

deadly serious when I say that. Even men who I’ve

change. Things are better. Yes. I think women are

seem proclaim themselves to be feminists start silenc-

definitely being better represented in mainstream

ing women as soon as their actions are in the firing

music, I think there’s a discourse developing around

line. So, yeah, I feel like misogyny is very pervasive in

women in music and the culture of sexism in mu-

music, even in spaces that are deemed safe. It’s sort

sic which is becoming more openly discussed and

of worrying to me, this thing that’s happening where

thought about. I think young women have a lot more

feminism is being seen as some sort of fashion trend-

musicians to look up to and be inspired by from a

like with that Chanel show where all the models

wider range of backgrounds than ever before, so

come out holding placards with ‘feminist’ statements

these are all definitely positive changes. But it’s really

on them. And now people are capitalising on this

important to recognise that some things still need to

and turning what already was a very problematic,

be changed. And that the change still needs to go

further than it already has done. Some women are

ferent experience from person to person and band

better represented, but women who aren’t white

to band. In many ways music still is a boys’ club. The

or cis-gender or straight are so often still sidelined.

first thing I thought of when I read the question was

A lot of people will probably say “yeah but not as

Jake Bugg and Catfish and The Bottlemen and other

much”, and I think that’s where it becomes danger-

lad-rock bands that keep emerging. It’s interesting

ous. That’s what I call settling, and it’s a big problem

to see that at the same time as so many mainstream

that mainstream feminism has. It’s when people

pop acts becoming so successful and embrac-

stop caring about issues that don’t personally affect

ing feminism, like Beyoncé, there’s this new genre

them, like if you’re white and you’re like “oh Lily Allen

of all-male bands who seem to enjoy basing their

is amazing look at the message she’s sending out in

image on the objectification of women and being,

her music video”, but Lily Allen is racist. But then white

you know, all ‘lads, lads, lads’ and whatever. I can’t

feminists go “well it’s better than nothing”. That’s

help but think it’s a part of the natural backlash that

damaging. That sends a terrible message out to

occurs when change starts to take place. Even in

people who are marginalised, it’s just a subtler way

smaller scenes there’s a bit of a boys’ club atmos-

of saying ‘I don’t care about the women who aren’t

phere that lingers around. There are a lot of shows I

exactly like me’. So when people talk about ‘things

won’t go to because I know it’s just going to be loads

are better for women’, of course you can agree that

of white guys rushing each other, taking theirs and

in some ways they are, but it’s really, really important

other peoples’ tops off, just doing the typical white

to acknowledge that in some ways they aren’t, and

man thing of getting into your space as much as pos-

in some ways they’ve actually gotten worse.

sible. I see it in pop culture, I see it in the small scenes around me, there’s always a boys’ club. There’s a boys’ club in politics, in business, at schools, universi-

+ Do you think that there are people who live under

ties, in the workplace, on and on and on. People

the assumption that music, and specifically touring, is

need to stop treating music- and especially smaller

a boys-only club?

scenes- like they are inclusive havens when they are not. Again, it’s just settling. But on the subject of

Well I think I’m still partially under that assumption, so

touring, more recently I’ve felt like I’ve been able

I suppose the answer is yes. I mean, situations are so

to break out of the boys’ club thing because we’ve

variable. Everyone’s personal experiences differ so

been touring with bands who have women in them,

much, and touring especially can be an entirely dif-

and we play to audiences that are made up by a

lot of women and teenage girls. Which is awesome. I really did feel quite out of place when I first started touring, and it showed in my developing friendship group just how male-heavy touring and music was. I wasn’t making any new friends who were girls based on the bands we were playing with. And I’d look at line-ups for shows and realise I’d be the only woman playing, and then that would reflect in the audience. It would just be guys. And it was disheartening and weird, and I felt uncomfortable. The power of women-to-women friendships is very strong, I believe in it wholeheartedly, and, as much as I love my male friends, if I go on a week long tour and we’re not with any other women I really start to feel it. We play with more bands with women in them now though, a lot of the time it’s about making choices. It’s very rare for shows with all-women line-ups to occur naturally. Most of the time you have to make it happen.

+ Can you talk about assumptions other people may have or you have witnessed based on your style, look, being female? The reaction I witness others have of my gender presentation and the way I dress has always been a funny one for me. I remember- like I’m sure so many other women do- the stages and timeframe in which I began to notice that I was being objectified or seen as a sexual being, and then the double standards

that came based on my gender expression. When I was a kid I really wanted to be normal, but also exceptional. And what I gathered from all the information I was constantly consuming from pop culture and mainstream media was that I did this through a very specific type of sex appeal. So even from a really young age, when I started to be noticed for how I looked I was thrilled. I really thought I was doing my duty as a woman. And I capitalised on it because it validated that feeling. This presentation of myself was not a negative thing though. I’ve grown back into my sexuality after experiencing a lot of trauma, and now I’m happy with presenting myself as a sexual being again. Most damaging was the shaming and the sudden backlash against my behaviour or selfpresentation as a young teenager. All of a sudden I realised what a double standard was. I used to be praised for being openly sexual and then for some reason my entire peer group decided it was not unacceptable. I didn’t get it. Because I never actually felt as though I was being exploited by presenting myself in the way that I did, even if other people saw it that way I didn’t feel like that. So it was hard to get my head around what exactly I’d been doing wrong the whole time, and then I thought maybe I hadn’t been doing what I was supposed to do to fulfil the feminine ideal. So after I was shunned (and I really was, for a long time) I became very confused about what I was supposed to look like or be, I cut off all my hair and people at my school found out I was queer and then I got bullied for that, I began

a horrible process of disordered eating that lasted

Tender, which is a quarterly journal edited by women

years and years, and I had such a dysmorphic im-

for women artists and writers. It’s just amazing, every

age of myself. And all of this took a very long time to

single issue. There must be loads more, I’m forgetting

recover from, and I’m still recovering. But now I feel

a lot of amazing people!

like I’m becoming in control of my appearance and I’ve accepted the fact that people will perceive me differently to how I perceive myself, but that doesn’t

+ What do you think is the best way to deal with the

mean I have to change for them. That’s why I love

sexism that female musicians still experience?

selfies so much, and also why I hate people who hate selfies so much. It’s an opportunity for young

I think there has to be accountability from the people

people and mostly young girls to take back control

or institutions or organisations who perpetuate mi-

over their own image. They can present themselves

sogyny, I think women need to be listened to more,

on their own terms, which is something I’m learning to

I think people have to start taking women more seri-

do. And I think it can be very empowering.

ously and believing them. Believing women, listening to what they’re saying and believing their experiences is powerful and incredibly important. I think there

+ In terms of feminism, are there ways that people

must be more responsibility and people need to start

are merging art and politics that are exciting to you

valuing women more. There is a serious lack of value

right now?

that women face in music, I mean really it’s almost as if we’re disposable: people talk about ‘female

I’m really excited by Katie Alice Greer from the

fronted’ as if it’s an entire genre. People need to stop

band Priests, Bryony Beynon who plays in Good

settling. We can’t keep saying ‘well, this will do’ and

Throb and also runs Hollaback in London and has

then carrying on. Change needs to be continuous

started working on the Good Night Out campaign

and proactive.

to get venues/clubs/bars to make women feel safer, Meredith Graves from Perfect Pussy who is both a wonderful person and an incredibly passionate and inspirational woman, Steph from the black feminist punk band Big Joanie is awesome- she spoke at the LaDIYfest event that I also spoke at a few weeks ago in Sheffield and everything she said was really

inspiring. There are so many incredibly feminist- or women-run zines that are coming out all over the place right now that I’m very excited about. I love Girls Get Busy, Illuminati Girl Gang, Immigrant Girls, Black Salt Collective, Poor Lass zine. I absolutely love Tender, which is a quarterly journal edited by women for women artists and writers. It’s just amazing, every single issue. There must be loads more, I’m forgetting a lot of amazing people!

+ What do you think is the best way to deal with the sexism that female musicians still experience? I think there has to be accountability from the people or institutions or organisations who perpetuate misogyny, I think women need to be listened to more, I think people have to start taking women more seriously and believing them. Believing women, listening to what they’re saying and believing their experiences is powerful and incredibly important. I think there must be more responsibility and people need to start valuing women more. There is a serious lack of value that women face in music, I mean really it’s almost as if we’re disposable: people talk about ‘female fronted’ as if it’s an entire genre. People need to stop settling. We can’t keep saying ‘well, this will do’ and then carrying on. Change needs to be continuous and proactive.

DANIEL PICKARD/ HALF LOON I don’t actively promote female values and rights although I’m all for girl power at times.

ANGELA WON-YIN MAK/ PROM I try my best not to give any energy to people who are narrow-minded. I am who I am so I can’t change that. And I’d rather not repeat and validate any specific negative experiences/comments I’ve had. There is so much judgment on women and their appearance, size, shape, skirt length, age, demeanour, how much make up you do/don’t wear... It’s endless! But I love performing, and I also think everything you present, from your sound and your artwork to your appearance, is part of the story of your music. There will always be people making assumptions about you, that’s natural to some degree, but I think if you have reasons for all the decisions you make then it becomes easier to navigate as you’re just following your own path rather than trying to prove or disprove anything in particular.

JOE PRENDERGAST /JOEY FOURR If people identifying as women in the present day were in a better place than those before, this article probably wouldn’t need to exist. Those three examples seem to stand for women and feminism yet they all have white middleclass hetero backgrounds, and feminism, what it is to be a woman has many, many faces, contexts, places, theological and economical issues to contend with. So, are white middle-class heterosexual women who entertain the public with their songs and live performances in a better place than they are now? Have they been banned from doing so? If not then they’re probably the same. Women of the past and women of the present are women who are told again and again they are second to men, it is 2015, it was 1976, it was 1992, it was a problem and still is, so no, the present aren’t in a better position.

AMELIA CUTLER, URSULA HOLLIDAY, DELILAH HOLLIDAY / SKINNY GIRL DIET There is an underlying stigma against women in bands. After every gig you feel like you’ve almost proved yourself which is a stupid thing to feel as though you have to prove anything in the first place. Instantly with an all girl band people seem to think; “those girls wont know what they are doing because they’re girls”. We were described in one review as “never forgetting to pout”. What is really annoying is that they would never say that about a boy band as ‘the look’ doesn’t really come into it when talking about a grunge boy band. Seeming that because we’re girls and the stereotype that girls care about what people think of them, we must be doing it on purpose, to show off our shade of lipstick and to look good of course! Because it’s not about the music, but about our image, and we must stay beautiful otherwise what’s the point, right?

LIV WILLARS, JEN CALLEJA, HEATHER PERKINS/ FEATURE I think it’s important to make light of any issues, and we’ve had a lot of men also thank us for speaking out about problems we face that they often haven’t even had to consider. I don’t believe in telling others what they should think, but rather offering a different perspective and most importantly allowing everyone, male or female, to have a voice so issues can be discussed, to open up debate. If some people are uneasy about confrontation, then even just attending shows, or putting on bands, or starting bands, or labels, or releasing music may seem obvious, but for every woman making her presence known, the gender imbalance within music culture will continue to equalise. I think we need to call people out. But I also think we need to engage people in a conversation, not push men out of the picture.

ANDREW MILK/ SHOPPING Based on my style/ look... hmm, someone once assumed I liked Fall Out Boy which to be fair was kind of accurate at the time. I’ve also played in drag a few times, when you are out of the gay clubs and often even within those spaces, the bizarre double bluff misogyny you get is really a head fuck. Men grabbing my body all over, patronising me, talking down to me. If this is you acting as if I am a woman then you are not ok. As for assumptions on the bands I play in, I have noticed a few times male sound techs or venue staff will look to me to answer their q's re: the bands’ set up, when I’m clearly at the back, carrying the cymbals etc., not your stereotypical band spokesperson is it, the drummer, so why me... (All other members of the band are female).

FLOWERS / RACHEL KENEDY I am definitely a feminist, in that I believe that women should be treated equally to men, and given equal opportunity, and I also feel that if I ever see someone who doesn’t understand this concept, I should endeavour to educate them about why feminism is important, and has been historically. However, I don’t consider myself a very active feminist, purely because I’m lucky enough not to be mistreated or offended by others because of my gender in my work or daily life, so I don’t ever really need to actively stand up for my personal rights as a woman.

HERO/ INE Photographer: Ollie Reimann Models: Joanna, Danny Stylist: Anya Oderyakova Creative Director: Jenny Schleifer

Joanna: top by Manitic

Joanna: coat by Alexis Housden

Danny: shirt by Holland Esquire Joanna: belt by Ed Lee boots by Finsk, hat by Topshop


Haus of PINS is an independent label of love based in Manchester. Initially created to self-release Manchester band Pins’ own material, it has grown to become a platform for them to release bands and artists they love, new, up-and-coming, exciting bands, no fucks given. Everything they release comes as a limited edition - beautifully hand-crafted cassettes along with download codes. The label focuses on putting out unique objects with a personal touch.





PINS? Mostly it's cos you can do small runs and it's affordWe started Haus of Pins so that we could self release

able which gives you a bit of creative freedom with

our first singles. At the time we didn't feel ready to

the design - making it an object you wanna keep as

work with another label and liked the idea of doing

well as the getting the music. It's great working with

it ourselves - including the design, artwork, and the

different bands on the designs they want, and using

videos. Eventually we moved on to releasing other

different methods to get it looking how they want.

bands that we liked and wanted people to hear.

One of the most interesting was screen printing glow in the dark ink onto the covers. I collect tapes that


other bands do too, I guess they make them for


the same reason. We'd love to do vinyl too, but it's pricey - one day.

It was our first singles (we did a double A side) 'shoot you/eleventh hour' and it was 50 ltd edition Gold


cassettes, with hand made laser cut covers that


we did ourselves. They sold out the same day we released them, and it made us want to do more.

haha. There would be loads.

We re ran them in white (50) and black (200). We also re-recorded those songs for this years Record


store day (2014), and released it on heart shaped


vinyl with Bella Union.



We plan maybe a few months ahead, and do the


releases a few months apart. Loads of time goes in to it so we want to give each one enough time.

It depends, usually it's bands we've seen live, or

We're doing a release for Cassette Store day 2014, it's

maybe played with.. or heard about from a friend

a split with Brown Brogues (UK) and Eternal Summers

then gone to check out a show.

(USA). That's out at the end of September (27th),

then hopefully we'll have something else out at the


beginning of next year.



I love being in Manchester, and being part of what's


happening there musically. I'm not sure which scene


we fit into to be honest, and I'm not sure that matters. There's loads of great bands from surrounding cities

Sort of, but only cos we release stuff that we like - so

too, and all over the world that you get to meet and

it's just down to our tastes. We seem to go for guitar

play with - we take inspiration from anywhere.

bands (from different genres), but we also released 'Female Band' which is much more experimental.



That it will thrive, all kinds of styles, and that we can all quit our day jobs. 4lyf.

Probably by finding a band you love, really believe in and want to work with. It's really (really) hard to make any money out of it, so do it cos you love it. If it goes well even better. If you can find people who want to collaborate with you and share the vision (and work load), that's a good place to be. WHAT SETS YOU APART FROM OTHER SMALL INDEPENDENT LABELS? I'm not sure, we learn from what other labels do. We design and hand make all our releases, including hand stamping the inserts one by one - maybe that.

Text & Interview: Kat Ober Illustration: Christiane Matz

NEW SOUNDS Text: Eva Earwaker, Hitoe Kobayashi, Daniel Morris, Kat Ober

ABJECTS Noisy, garage-y punk - Abjects are a three-piece

acing heat and drawl and that addictive drag that

powerhouse, who combine a mix of filthy fast elec-

keeps you wanting more and fast. Deserving of big

tric guitar riffs reminiscent of early seminal Cramps

things as big as their sound - predict a meteoric rise

and swagger pumped drums. Abjects enter a stage

as the year progresses - one of the best all girl groups

and proceed to assault you with strong sweet, liquid

around. Abjects have the hard fast attitude that the

and acid vocals; catching you off-guard - their

hard-core punk girl bands of the Punk era oozed -

pounding melodies force you to move your feet.

making it look like they invented it!

Energy and punch served up sweetly in a glass jar, smashed over your senses - their songs have a men

BIG SISTER Accurately self-proclaimed ‘Tambourine-shakin, party-rockin’ groovers’, Big Sister have deservedly marked their territory on London’s underground psychedelic scene. Reminiscent of bands such as The Brian Jonestown Massacre, Spacemen 3 and My Bloody Valentine, Big Sister are sure to excite the senses. Despite the loose, spontaneity of their music, the band uphold an overall sense of togetherness, and maintain a clear direction, even during moments of wildness. Snappy, jiving guitars dissipate into a reverberant wash of droning, metallic fuzziness, firmly stabilized by a suitably groovy rhythm section. Although clearly paying homage to the sounds and


styles of the ‘60s, the band readily integrate elements from every subsequent decade, producing a delight-

Bruising formed late last year after singer and guitarist

fully eclectic mix of thought provoking soundscapes.

Naomi Baguley spotted Ben Lewis wearing a Perfect Pussy t-shirt in a Leeds nightclub. Bonding over a

mutual love of all things fuzzy, they began messaging voice memos from their phones back and forth until, finally, they got together in the same room and started writing some songs. With releases on hot tape label Beach Coma and the acclaimed Art Is Hard Records coming in the next few months, 2015 is set to be very exciting for Bruising.

JC FLOWERS JC Flowers are a new London band, sprung up with the vocals of NOVELLA band member, Issie Spurgeion, Noel Anderson (guitar), Edgar Smith (vocals and bass ), Tim Garratt (vocals , guitar and keys) and Set Pimlott (drums). The band started in 2014 with Noel, Edgar and Tim having a few ideas for some songs and with the working title of ' The Jazz Hole ' , This was an in joke, taking their name from a bar featured in an episode of The Simpsons. However a '90's acid jazz band already had the name and so JC Flowers was born, which the band felt sounded " suitably ' power pop ' ". The band have already recorded an album themselves last year and are now planning to do some gigs and put the Album out. They have already played at the iconic 100 Club in London earlier this year.

KAGOULE Nottingham based trio Kagoule are one of the most exciting bands around. Kagoule have perfected the combination of indie rock, grunge and punk, which has no doubt assisted in supporting acts such as Iceage, Drenge or The Wytches; they have definitely proved to be ones to watch. Cai’s gripping guitar riffs paired with Lucy’s stage presence, glued together by their killer drummer, create brilliant grunge pop tunes. Already set for big things, it comes as a surprise that all three are only 18-years old, but age is just a number for this group, with their powerful and ‘90s grunge sound echoing the style and maturity of an older and more developed group.

LUST Another new band from London’s indefinite pool of musical talent, having said that Lust isn’t exactly a London band with being comprised of three Swedes Anna Haara Kristoferson on vocals and synths, Moa Papillon on vocals and guitars, Andrea Muller on vocals and bass, with English born Alex Burke on guitar, and Roberto Conigliaro from Italy on drums. Lust’s debut single ‘Looking Glass’ was released last year via Hatcham Social brothers’ label Crocodile Records. Along with it came B-side ‘Hazy and High’. ‘Looking Glass’ excels in the genre of hazy dreampop with its mesmerizing drive and spectral harmonies reminiscent of the sounds of Stereolab or even Broadcast.

LUCIFER’S SUN Dark-wave duo The KVB might have relocated to Berlin but there is already new blood in the making. Gloom-laced Lucifer’s Sun from London, composed of Imogen (bass), Zak (vocals, guitar) and Albert (drums), oscillates between the tone-bending guitar fuzz of The Jesus And Mary Chain or early My Bloody Valentine and the desolate, Joy Division-inspired bass lines of cult European dark wave bands such as Grauzone. Maybe it isn’t a coincidence that Lucifer’s Sun’s sound-relatives debut release referred to the sun as well, The Black Sun in that case. Lucifer’s Sun are scintillating with their goth, experimental sound.

PRIMETIME “Tyskie fuelled post-punk racket” – That’s my favourite description of the London four piece Primetime. The lyrics of their song ‘Tied Down’ are outright and direct, “I want your body, not your mind” – it’s one of those key expressions that stand for our generation (maybe sadly) because nobody wants ‘strings attached’ these days. But it might also be understood as a feministic statement and we can definitely agree on that: “the only time I want you to tie me down is in bed”. The band’s sound, rightfully compared to Leeds’ post-punk band Delta 5 is minimal yet catchy.

PROM It’s so refreshing to find a fearless artist fronting a band who’s not afraid to break the boundaries. Prom is loud, fast and flawless. This dynamic four piece from London are relatively new, having only formed earlier last year they are already sounding immaculate. PROM has mastered aggressive guitars, thrashing drums and raw vocals. There are no gimmicks with them. They have recently played with other upcoming artists such as DZ Deathrays and Girl Band. Full of potential veering between trashy garage-surf and noisy art rock Prom are serious genre terrorists scattering from all corners of the punk, alt, goth axis.

TESS PARKS Tess Parks is a Canadian born singer with a mighty talent. Exploding onto the UK music scene from her native Toronto in Canada and now with the backing of legendary producer Alan McGee, she is set to storm further onwards. Her solo shows sees the diminutive figure stunning audiences with her deep, gravely and intense vocals style, only matched by her unmoving gaze. Her style is quite unique and it conjures up the greatness of Patti Smith, who she cites as being an influence. Some of her other influences are Janis Joplin, The Velvet Underground, The Brian Jonestown Massacre and The Who. She has collaborated with Anton Newcombe recently on an album, which has been released recently.

THE WHARVES London based The Wharves combine gracefully minimal psyche-rock with fuzzed out folk. Hailing from Ireland, France and England the three-piece sport startling duel vocals, courtesy of Gemma Fleet (bass) and Dearbhla Minogue (guitar), which hang gracefully over their minimal rock format. They invoke the reverberated spook of 60s girl groups, the mid-fi guitar crunch of Kim Deal's The Amps, the vocal flavours of The Roches and the narrative and structural panache of 70's progressive folk. Marion Andrau's thunderous drumming drives through these compositions, ensuring the wealth of disparate influences remain focused and celebratory.


Anto Dust is a London-based quintet led by Anto Cossu, who is originally from Italy. Her ghostly, shoegaze vocals spawn psychedelic pop music that produce an otherworldly slice of pristine ethereal dream pop which conjures up the beauty of 4AD legends Lush. For Visiting FROCK & ROLL asked Anto about her childhood and first musical memories.


‘yesterday’ by the Beatles, attracted by the bright blue and yellow of the cover sheet. I am not sure It was the music (I wouldn’t understand a word) or the thought of a talented 17

When asked about her first musical memory Anto recalls

years old dying, but my tears streamed down my face and

a memory from when she was only three years old. “It’s

I have never stopped listening to The Beatles since.”. Even

summer and we are having a big family meal outside in the

though these are quite early musical memories it was not

garden. The radio plays ‘La Isla Bonita’ by Madonna and

until four years ago that Anto Cossu started writing music.

mum puts me on the table and asks me to dance. The music is so sweet and dreamy that I sit down to listen and refuse to dance.”


But that was not the moment that music moved her so much it had an impact on her and her later life. This happened

The love for words is my driving force”, the Italian explains,

around five years later when Anto unearthed an old record

with music always playing a big part in her life acting as a life

player at her grandparents’. “I asked my Nan how to make it

saviour and place of comfort a career in music was not on

work. She brought some records and told me they belonged

the cards at first even though she has always dabbled with/

to my auntie who died from leukaemia at the age of 17. Nan

in writing poetry and novels. Growing up in a small town and

said Antonella, my auntie, used to love music and would

attending Catholic school does not destine a young girl to

also play guitar very well. When Nan left the room I put on

attempt to be a musician: “Maybe we are all mad for be-

lieving we can leave our mark in chords and words but who cares?” Her latest single ‘1955’ plays with her weakness with everything numeric being an enigma for her – Anto Cossu states that she is really bad at maths and writes down phone numbers in the wrong order. However 1955 is also the year her dad was born and therefore the Italian crafted a song around their relationship.



Her favourite guitar an acoustic Ibanez she calls her dad’s

The Sicilian songstress says when asked to give advice about

guitar, even though she bought it herself at the age of

song writing. For her words and melody come first, adding

12 with money from her family. It turned out that her dad

that it sometimes can prove difficult since she is not very

enjoyed playing it a lot more than herself at first and it only

knowledgeable about guitar theory. However he empha-

ended back being hers until Anto’s father bought himself a

sises it is not about how many chords or scales you know, in-

replacement. “It feels weird to think that I can actually play it

stead the greatest songs are formed by emotions, creativity,

now, after all these years... It looks very pretty for an acoustic

and especially joy or pain. She states: “Either you have the red and black outline but it’s not one for the

spark in you or you don’t. The best tip I can give is to read a

dreamy songs!”

lot of poetry because that really helps in terms of rhymes and rhythm. Apart from that... Good Luck!”

Interview: Kat Ober Photography: Suzy Creamcheese


HEROINE issue featuring Alanna McArdle, Ultimate Painting, Shopping, Joey Fourr, Feature, Skinny Girl Diet, Flowers, Half Loon, Novella, Bru...


HEROINE issue featuring Alanna McArdle, Ultimate Painting, Shopping, Joey Fourr, Feature, Skinny Girl Diet, Flowers, Half Loon, Novella, Bru...