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And then there’s always the classic rock bride, Yoko Ono, who is still blamed for breaking up the Beatles.Davies cites the male dominance of the rock press as the major cause for the constinued misrepresentation of female rock music fans: ‘The assumption of their stupidity, or at least their lower intelligence than male fans, is naturalised by being rarely, if ever, questioned’ (316).But really, rock fans are presented as idols, so why is it so wrong for female fans to idolise them?

While the article may refer back to a small number if female centred bands who have previously been visible within this field (often cited are the Go-Gos, Blondie and The Pretenders), the implication is that a current group of female musicians has now emerged to offer a fresh challenge to a masculine discourse.” Additionally, this chapter is informative through the amount of research Marion Leonard, the author of this book has provided.

Within the article, “Rebel Yell”, composed by Liz Evans, female-centred indie bands are declraed as a “generation of female musicians [who have] arrived; women and girls who are not content with taking a back seat to their leather-clad, ego-touting borthers.

Davies briefly discusses an article by a female journalist that describes all female fans as ‘groupies who don’t want to be screwed’ (315) (again, why is the nastiness coming from women? This image of the groupie has also been projected on to girlfriends and wives of rock musicians. She was repeatedly attacked in the media for being irrational and using husband Kurt Cobain as a vehicle to become more famous.

Her open arguments with the former members of Nirvana have also been widely covered by the rock music press (generally not on Love’s side).

The images of female fans screaming has led to an assumption that women only enjoy serious music because they are ‘boy crazy’.

‘Women who like intelligent music are believed not able to understand it, and their fandom is often explained by sexual attraction to a male musician’ (Davies 203).Therefore, the image of the teenybopper has been, in a way, applied to all female fans.As Frank Zappa once said, ‘men come to hear the music and women come for the sex thrills’ (Railton, 2001: 323).You don’t fool us with your eyeliner, tattoos and ridiculously stylish, jagged hair cut. I suppose it begs the question to be asked behind the reasoning, the determination, the pure ambition to be seen as a girl of rock when you’re straddling the top 40 pop category. Maybe some sort of credibility when you whimsically name drop those inspiring women of the past as your heroes?That guitar playing looks mighty uncomfortable (and sort of staged, dear). Or maybe it’s just a great, bit marketing tool aimed at making more money and putting a bit of a different spin on what the traditions of being a girl in the music industry are (sing, look pretty and don’t do too much else.) I hope I’m not being too scathing.Alex May 28, 2008 at am (Uncategorized) (ashlee simpson, modern, pop, Rock, top 40., veronica's) I’m increasingly frustrated by so many cut and paste “rock chicks” in top 40 today.

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