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The spirit of '77: punk and the girl revolution.
by Rebecca Daugherty
In 1976 the Slits, the first all-female punk band, performed their version of the 1960s classic "Heard It through the Grapevine."--To the uninitiated, their guitar fumblings, unpolished vocal style, and uneven percussion labeled the Slits as an object of musical ridicule and an example of the chaotic mess the punk subculture calls music, in glaring opposition to the highly structured products of the popular music industry. The remake of the widely recognizable song acknowledged the musical tradition of those who had played the song before and at the same time negated the dominance of that tradition. By altering the lyric, singing "I heard it through the bass line," the Slits self-consciously reversed the position of women in popular music by questioning women's absence in the ranks of rock musicians. Girls were not supposed to be hearing anything through the bass line!
Historically, both black and white women in popular music have occupied the position of the singer. The connection of the voice to the body falls in line with women's "biologically determined" social roles and the pressure for these singers to conform to white standards of beauty and sexual attractiveness. Because of the connection of singing with the body, vocalists were not seen as skilled musicians. Mavis Bayton notes that "even [jazz singer] Billie Holiday's singing was discussed in terms of an emotional response to her life history of personal suffering, rather than in terms of learnt craft." (1) Vocalists in the big band era were paid less than instrumentalists, often used only to give the "real musicians" a rest or as sequin-clad eye candy for audiences.
This image of the woman in music carried through to the birth of rock ..n'roll
