All the girls in town
The missing women of Australian rock, cultural memory and coverage of the death of Chrissy Amphlett
DOI:
https://doi.org/10.1558/prbt.v15i2.18363Keywords:
cultural memory, gender, Chrissy Amphlett, AustraliaAbstract
This article will use the cultural and media materials produced around the death of Chrissy Amphlett as a way of interrogating the fact that surprisingly few resources exist that document or commemorate the contribution of women to the rock music scene in Australia. As Amphlett is unusual in being a woman who has, even before her death, claimed a place in the Australian rock canon, examining materials that are designed to construct her legacy upon her passing will provide examples of how women in Australian rock are discussed. It will be demonstrated that Amphlett’s gender is central to these discussions, and that she is used to both obscure the contributions of other women performers and to deny a need for women musicians to even be an object of discussion at all. These findings will be analysed using Aleida Assmann’s concepts of functional and storage memory, and it will be argued that the lack of information that we have about past female rockers makes it harder for women in Australia to see this field as one they can participate in, and also makes the retention of memories about currently successful women musicians less likely.
References
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Hirsch, Marianne, and Valerie Smith. 2002. ‘Feminism and Cultural Memory’. Signs 28/1: 1–19. http://dx.doi.org/10.1086/340890
Homan, Shane. 2000. ‘Losing the Local: Sydney and the Oz Rock Tradition’. Popular Music 19/1: 31–49. http://dx.doi.org/10.1017/S0261143000000040
Homan, Shane, and Tony Mitchell. 2008. Sounds of Then, Sounds of Now: Popular Music in Australia. Hobart: ACYS Publishing.
Johnson, Vivien. 1992. ‘Be My Woman Rock’n’Roll’. In From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s, ed. Philip Hayward, 127–38. Sydney: Allen & Unwin.
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Leonard, Marion. 2007. Gender in the Music Industry: Rock, Discourse and Girl Power. Aldershot: Ashgate.
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Stafford, Andrew. 2013. ‘Front Row or Death Row: Chrissy Amphlett was the First and the Best’. Crikey, April 23. http://www.crikey.com.au/2013/04/23/front-row-or-death-row-chrissie-amphlett-was-the-first-and-the-best/ (accessed June 1, 2013)
Stratton, Jon. 2008. ‘A Jew Singing Like a Black Woman in Australia: Race, Renée Geyer, and Marcia Hines’. Journal of Popular Music Studies 20/2: 166–93. http://dx.doi.org/10.1111/j.1533-1598.2008.00155.x
Strong, Catherine. 2010. ‘The Triple J Hottest 100 of All Time and the Dominance of the Rock Canon’. Meanjin 69/2: 122–27.
—2011. ‘Grunge, Riot Grrrl and the Forgetting of Women in Rock’. Journal of Popular Culture 44/2: 398–416. http://dx.doi.org/10.1111/j.1540-5931.2011.00839.x
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von Appen, Ralf, and Andre Doehring. 2006. ‘Nevermind the Beatles, here’s Exile 61 and Nico: “The Top 100 Records of All Time”: A Canon of Pop and Rock Albums from a Sociological and an Aesthetic Perspective’. Popular Music 25/1: 21–39. http://dx.doi.org/10.1017/S0261143005000693
Young, Greg. 2004. ‘“So Slide over Here”: The Aesthetics of Masculinity in Late Twentieth-century Australian Pop Music’. Popular Music 23/2: 173–93. http://dx.doi.org/10.1017/S0261143004000145
—2013b. ‘Chrissy Amphlett Dead at 53, She was Australia’s First Rock Chick’, news.com.au, April 22. http://www.news.com.au/entertainment/music/chrissy-amphlett-dead-at-53-she-was-australias-first-rock-chick/story-e6frfn09-1226626152748#ixzz2RpLexL4P (accessed May 29, 2013).
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AIR. 2011. Ladies and Gentlemen on the Radio. Australian Independent Record Labels Association newsletter, July 2011.
Amphlett, Chrissy. 2009. Pleasure and Pain: My Life. London: Hachette.
APRA. 2011. Economic Contribution of the Venue-based Live Music industry in Australia. Australasian Performing Rights Association (APRA).
Arrow, Michelle. 2007. ‘“It Has Become my Personal Anthem”: “I am Woman”, Popular Culture and 1970s Feminism’. Australian Feminist Studies 22/53: 213–30. http://dx.doi.org/10.1080/08164640701361774
Assmann, Aleida. 2011. Cultural Memory and Western Civilisation: Functions, Media, Archives. Cambridge: Cambridge University Press. http://dx.doi.org/10.1017/CBO9780511996306
Barney, Katelyn. 2007. “‘Black, Urban, Contemporary, Strong and Beautiful”: Exploring How Indigenous Australian Women Performers are Positioned in the Popular Media’. In Whose Popular Music? Industry, Performers, Fans: Selected Proceedings from the 2006 IASPM Australia and New Zealand Conference, ed. Ian Collinson, 65–76. Ryde: Perfect Beat Publications.
Barrand, Janine. 2010. Rock Chicks: Women in Australian Music. Melbourne: Victoria Arts Trust.
Barron, Lee. 2008. ‘The Seven Ages of Kylie Minogue: Postmodernism, Identity, and Performative Mimicry’. Nebula 5/4: 46–63.
Bayton, Mavis. 1997. ‘Women and the Electric Guitar’. In Sexing the Groove: Popular Music and Gender, ed. Sheila Whiteley, 37–49. New York: Routledge.
—2006. ‘Women Making Music: Some Material Constraints’. In The Popular Music Studies Reader, ed. Andy Bennett, Barry Shank and Jason Toynbee, 347–54. London and New York: Routledge.
Bennett, Andy. 2010. ‘Popular Music, Cultural Memory and Everyday Aesthetics’. In Philosophical and Cultural Theories of Music, ed. Eduardo de la Fuente and Peter Murphy, 247–60. Boston and Leiden: Brill. http://dx.doi.org/10.1163/ej.9789004184343.i-316.59
Bonner, Frances, and Susan McKay. 2006. ‘The Illness Narrative: Australian Media Reporting of Kylie Minogue’s Breast Cancer’. Metro Magazine: Media & Education Magazine 148: 154–59.
Chapman, Simon, Simon Holding, Kim McLeod and Melanie Wakefield. 2005. ‘Impact of News of Celebrity Illness on Breast Cancer Screening: Kylie Minogue’s Breast Cancer Diagnosis’. Medical Journal of Australia 183/5: 247–50.
Cohen, Sara. 1997. ‘Men Making a Scene: Rock Music and the Production of Gender’. In Sexing the Groove: Popular Music and Gender, ed. Sheila Whiteley, 17–36. London: Routledge.
—2013. ‘Musical Memory, Heritage and Local Identity: Remembering the Popular Music Past in a European Capital of Culture’, International Journal of Cultural Policy 19/5: 576–94. http://dx.doi.org/10.1080/10286632.2012.676641
Connell, John, and Chris Gibson. 2003. Sound Tracks: Popular Music, Identity and Place. London and New York: Routledge. http://dx.doi.org/10.4324/9780203448397
Davies, Helen. 2001. ‘All Rock and Roll is Homosocial: The Representation of Women in the British Rock Music Press’. Popular Music 20/3: 301–19. http://dx.doi.org/10.1017/S0261143001001519
Eid, Mushira. 2002. The World of Obituaries: Gender across Cultures and over Time. Detroit: Wayne State University Press.
Eliezer, Christine. 2007. High Voltage Rock’n’roll: The Movers and Shakers in the Australian Rock Industry. London: Omnibus Press.
Engleheart, Murray. 2010. Blood, Sweat and Beers: Oz Rock from the Aztecs to Rose Tattoo. Sydney: HarperCollins.
FasterLouder. 2013. ‘From Adalita to Stonefield, Chrissy Amphlett’s Influence Runs Deep’. April 22. http://www.fasterlouder.com.au/news/local/35495/From-Adalita-to-Stonefield-Chrissy-Amphletts-influence-runs-deep (accessed May 30, 2013).
Ford, Clementine. 2013. ‘Should We be Angry about the Hottest 100?’, Daily Life, June 11. http://www.dailylife.com.au/news-and-views/dl-opinion/should-we-be-angry-about-the-hottest-100-20130610-2nzl2.html (accessed September 23, 2013).
Fowler, Bridget. 2004. ‘Mapping the Obituary: Notes towards a Bourdieusian Interpretation’. Sociological Review 52/2: 148–71. http://dx.doi.org/10.1111/j.1467-954x.2005.00529.x
—2005. ‘Collective Memory and Forgetting: Components for a Study of Obituaries’. Theory, Culture and Society 22/6: 53–72. http://dx.doi.org/10.1177/0263276405059414
Gibson, Chris. 1998. ‘“We Sing our Home, We Dance our Land”: Indigenous Self-determination and Contemporary Geopolitics in Australian Popular Music’. Environment and Planning D: Society and Space 16/2: 163–84. http://dx.doi.org/10.1068/d160163
Harrison, Gillian. 2010. ‘Community Music in Australia’. International Journal of Community Music 3/3: 337–42. http://dx.doi.org/10.1386/ijcm.3.3.337_1
Hatton, Erin, and Mary Nell Trautner. 2011. ‘Equal Opportunity Objectification? The Sexualization of Men and Women on the Cover of Rolling Stone’. Sexuality and Culture 15/4: 256–78. http://dx.doi.org/10.1007/s12119-011-9093-2
Hayward, Philip, ed. 1992. From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s. Sydney: Allen & Unwin.
Hearsum, Paula. 2015. ‘Three Faces of Musical Motherhood in Death: Amy Winehouse, Whitney Houston and Donna Summer’. In Death and the Rock Star, ed. Catherine Strong and Barbara Lebrun, 119–34. Aldershot: Ashgate.
Hirsch, Marianne, and Valerie Smith. 2002. ‘Feminism and Cultural Memory’. Signs 28/1: 1–19. http://dx.doi.org/10.1086/340890
Homan, Shane. 2000. ‘Losing the Local: Sydney and the Oz Rock Tradition’. Popular Music 19/1: 31–49. http://dx.doi.org/10.1017/S0261143000000040
Homan, Shane, and Tony Mitchell. 2008. Sounds of Then, Sounds of Now: Popular Music in Australia. Hobart: ACYS Publishing.
Johnson, Vivien. 1992. ‘Be My Woman Rock’n’Roll’. In From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s, ed. Philip Hayward, 127–38. Sydney: Allen & Unwin.
Lafrance, Marc, Lara Worcester and Lori Burns. 2011. ‘Gender and the Billboard Top 40 Charts between 1997 and 2007’. Popular Music and Society 34/5: 557–70. http://dx.doi.org/10.1080/03007766.2010.522827
Leonard, Marion. 2007. Gender in the Music Industry: Rock, Discourse and Girl Power. Aldershot: Ashgate.
McCabe, Kathy. 2013. ‘Chrissy Amphlett is Dead, but She will Remain Forever Etched in our Memories as our Greatest Female Rock Frontwoman’. The Daily Telegraph, April 22. http://www.dailytelegraph.com.au/entertainment/music/chrissy-amphlett-is-dead-but-she-will-remain-forever-etched-in-our-memories-as-our-greatest-female-rock-frontwoman/story-e6frexl9-1226626166216 (accessed May 30, 2013).
McRobbie, Angela. 2009. The Aftermath of Feminism: Gender, Culture and Social Change. London: Sage.
Meldrum, Molly. 2013. ‘Chrissy Amphlett was One of the Best Performers We’ve Ever Produced’, news.com.au. http://www.news.com.au/opinion/chrissy-amphlett-was-the-best-performer-weve-ever-produced/story-fnh4jt54-1226626874102#ixzz2RpN2SN2c (accessed May 30, 2013).
Misztal, Barbara A. 2003. Theories of Social Remembering. Philadelphia: Open University Press.
New York Times. 2013. ‘Christina Amphlett, Divinyls Singer, Dies at 53’, April 22. http://www.nytimes.com/2013/04/23/arts/music/christina-amphlett-divinyls-singer-dies-at-53.html?_r=0 (accessed September 20, 2013).
NineMSN. 2013. ‘Rock Legend Chrissy Amphlett Dies at 53’. April 22. http://news.ninemsn.com.au/entertainment/2013/04/22/16/23/chrissy-amphlett-reported-dead-at-53 (accessed May 4, 2013).
Roberts, Les. 2014. ‘Talkin Bout My Generation: Popular Music and the Culture of Heritage’. International Journal of Heritage Studies 20/3: 262–80. http://dx.doi.org/10.1080/13527258.2012.740497
Sams, Christina. 2013. ‘In the Name of Amphlett, What Happened to our Rock Chicks?’ Canberra Times, April 26. http://www.canberratimes.com.au/entertainment/music/in-the-name-of-amphlett-what-happened-to-our-rock-chicks-20130426-2ij1b.html#ixzz2RpIzKy00 (accessed May 30, 2013).
Sharp, Annette. 2013. ‘Rock Goddess Chrissy Amphlett Revelled in an Outrageous Stage in her Never-dull Life’, Daily Telegraph, April 27. http://www.dailytelegraph.com.au/entertainment/sydney-confidential/rock-goddess-chrissy-amphlett-revelled-in-an-outrageous-stage-in-her-never-dull-life/story-e6frewz0-1226630279334 (accessed August 20, 2015).
Smith, Diane. 2010. ‘Deci-belles: Gender and Power in Sound Engineering for Popular Music in New Zealand’. PhD dissertation, Department of Music, University of Otago, Dunedin.
Stafford, Andrew. 2013. ‘Front Row or Death Row: Chrissy Amphlett was the First and the Best’. Crikey, April 23. http://www.crikey.com.au/2013/04/23/front-row-or-death-row-chrissie-amphlett-was-the-first-and-the-best/ (accessed June 1, 2013)
Stratton, Jon. 2008. ‘A Jew Singing Like a Black Woman in Australia: Race, Renée Geyer, and Marcia Hines’. Journal of Popular Music Studies 20/2: 166–93. http://dx.doi.org/10.1111/j.1533-1598.2008.00155.x
Strong, Catherine. 2010. ‘The Triple J Hottest 100 of All Time and the Dominance of the Rock Canon’. Meanjin 69/2: 122–27.
—2011. ‘Grunge, Riot Grrrl and the Forgetting of Women in Rock’. Journal of Popular Culture 44/2: 398–416. http://dx.doi.org/10.1111/j.1540-5931.2011.00839.x
—2014. ‘Amphlett Lane Puts Rock Legacy Back on the Map, Literally’. The Conversation, September 5. http://theconversation.com/amphlett-lane-puts-rock-legacy-back-on-the-map-literally-31342 (accessed September 17, 2014).
van Dijck, Jose. 2007. Mediated Memories in the Digital Age. Stanford, CA: Stanford University Press.
Vincent, Peter. 2013. ‘Tina Arena Says it’s Harder for Female Singers to Make it in Australia’. Sydney Morning Herald, December 11.http://www.smh.com.au/entertainment/music/tina-arena-says-its-harder-for-female-singers-to-make-it-in-australia-20131211-2z5pg.html(accessed April 11, 2014).
—2014. ‘Helen Reddy Gives a Rewarding Show for True Fans’. Sydney Morning Herald, April 12. http://www.smh.com.au/entertainment/music/helen-reddy-gives-a-rewarding-show-for-true-fans-20140412-36jvt.html (accessed September 17, 2014).
von Appen, Ralf, and Andre Doehring. 2006. ‘Nevermind the Beatles, here’s Exile 61 and Nico: “The Top 100 Records of All Time”: A Canon of Pop and Rock Albums from a Sociological and an Aesthetic Perspective’. Popular Music 25/1: 21–39. http://dx.doi.org/10.1017/S0261143005000693
Young, Greg. 2004. ‘“So Slide over Here”: The Aesthetics of Masculinity in Late Twentieth-century Australian Pop Music’. Popular Music 23/2: 173–93. http://dx.doi.org/10.1017/S0261143004000145
Published
2015-09-07
Issue
Section
Articles
How to Cite
Strong, C. (2015). All the girls in town: The missing women of Australian rock, cultural memory and coverage of the death of Chrissy Amphlett. Perfect Beat, 15(2), 149-166. https://doi.org/10.1558/prbt.v15i2.18363
