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't a lot of youth culture even though Elvis had opened up the music world. Youth didn't really have a voice at all, and it was only through what came from the west coast of America, and how that got translated in this country that things really did start to change. As we didn't have the space or the long summer skies which went with the idea of ‘hippies’, it had to be adjusted. Also a lot of the things that were happening in America, like building your own home and creating big scale projects yourself wasn't possible here. When it was tried, it was trodden on
subversion (as expressed via the underground press), and attacking bastions of societal control, was seen again in punk. Rather than a complete repudiation of the 1960s, punk can in many ways be seen as a reconnection with its radicalism. Punk also provided a space in which women could make a decisive impact. The rock music world of the 1960s overwhelmingly saw women as sex objects and/or foils for its male stars. Punk women often refused to passively subscribe to such roles. Female writers, including Jane Suck ( Sounds ), Julie Burchill ( NME ) and
practices in the 1970s include performances as lead singer in the art-concept band Moody and the Menstruators, which started as a prank of sorts in 1973, yet accidentally accrued music-world recognition. Described by Michael Bracewell as ‘alternately feckless, disquieting, funny, cool, without purpose, compelling and clever’, and compared to Gilbert and George, and Bruce McLean’s ‘Nice Style’ Pose Band, the ‘Moodies’ are acknowledged as a key influence on the development of bands including Roxy Music (2007: 261); they performed as a warm-up for Lindsay Kemp’s dance