La venganza de las punks

Depending on who you ask, the history of punk began in England with the Sex Pistols or in New York with the Ramones, but what if, as the legendary shirt of Kim Gordon from Sonic Youth said, "girls invented punk, not England "? Without entering into controversies about the genesis of the phenomenon, what does seem clear is that the official history, as is usual, has silenced the fundamental role that women had and have in the origin and future of the most visceral guitar music. Music and cultural journalist Vivien Goldman -who in the early 1980s recorded a pivotal single in the PiL studio downtime- writes for the first time a history of punk from the mid-1970s to the present day in a female key. Goldman explores the phenomenon of punk from four fundamental themes -identity, money, emotional life and the search for change- that have to do both with musical creation on the fringes of the industry and with the inherent difficulties of women in a context where patriarchy still prevails. To do this, he draws an exciting and fun global panorama of punk music made by women whose legacy still lives on and resonates in all corners of the world. Beyond the key names -Patti Smith, Debbie Harry or Chrissie Hynde-, the "professor of punk" digs in history and in the most remote places of the planet where fascinating punk sheroes emerge, both in the US (Poly Styrene, the riot grrrls, Alice Bag or Sleater-Kinney) and England (the Slits, the Raincoats, the Au Pairs or the Skinny Girl Diet), but also in France (Lizzy Mercier Descloux), Germany (Malaria!), Japan (Shonen Knife), Russia (Pussy Riot), Indonesia (Tika and The Dissidents), China (Hang on the Box), India (Pragaash, The Vinyl Records), Jamaica (Grace Jones, Tanya Stephens), Nigeria (Sandra Izsadore) or Colombia (Fertile Misery), including the Vulpes and their "Me gusta ser una zorra".