A note from the See Red Women’s Workshop

A drawing of a woman bashing scissors cutting childcare, disability benefits, housing, with a large placard. Looking angry and strong.

“Founders and later members of the British feminist poster collective, See Red Women’s Workshop (1974-1990) are involved with putting a book together about the posters and we are hoping to gather a collection of memories from women who were involved at some time (many women passed through the workshop), or who particularly remember the posters otherwise. If you are one of those women, do please get in touch with us. Or please forward to your friends and networks otherwise.

To jog your memory here’s a link to the website we are also slowly putting together. https://seeredwomensworkshop.wordpress.com/

Much appreciated! As would any ideas about other mailing lists to send this call round to.

Pru, Suzy, Bronnie, Anne and Jess”

Thanks to See Red Women’s Workshop for allowing reproduction of their work under a Creative Commons license.






Happy New Year from the Women’s Liberation Music Archive!

Please click on the badge

A photo of the WLM badge, with its red symbol of a clenched fist inside a women's symbol, on a white background.

to donate to WLMA’s 2015 fundraising drive and help keep feminist history alive!

Best wishes for the new year from the WLMA team to all our friends, on Facebook and everywhere else, everyone who follows our posts and who has supported the project in 2014. Huge thanks also to everyone who’s sent us material enabling us to expand the archive collection. We’ve had thousands of website hits from around the world, been able to help lots of students and researchers and enjoyed being involved in FLA, the new Feminist Libraries and Archives network, running stalls and being part of the Feminism in London conference (videos of the FLA workshop viewable on our Facebook post for 25th October fyi.) We’re planning to continue our work on the project this year, and if you’d like to support us in this please do consider making a donation through PayPal. (If the link above doesn’t work please go to the website: http://womensliberationmusicarchive.co.uk.) Any money we raise goes only to develop the archive and cover our running costs. WLMA is voluntary and unfunded so every little helps!

Looking forward to the new year and sending best wishes for success to feminist campaigns, global and local. Hasta la victoria!

Women’s Liberation Music Archive news

Poster announcing 25th September Feminism in London 2014 conference in suffragette colours of purple, green, white, says 'Save the Date!'Tickets are on sale now – and going fast! – for this year’s Feminism in London conference, on Saturday October 25th, at the Institute of Education, Bedford Way, London WC1H 0AL.

We’re very pleased to be taking part in the morning workshop: ‘Feminist Archives and Activism: Knowing Our Past – Creating Our Future.’ This is a chance to discuss the importance of documenting and celebrating feminist history, find out about the various great feminist archives and libraries available and explore how they can be useful tools in our ongoing campaigns. This workshop brings together different generations of feminists and is organised by the new network of feminist libraries and archives, FLA. Speakers include Feminist Library volunteers http://feministlibrary.co.uk/, Frankie Green from the Women’s Liberation Music Archive http://womensliberationmusicarchive.co.uk/, Jalna Hanmer from the Feminist Archive North http://www.feministarchivenorth.org.uk/, Liz Kelly and Joan Scanlon from radical feminist journal Trouble & Strife http://www.troubleandstrife.org, Sue John from Glasgow Women’s Library http://womenslibrary.org.uk/ and Zaimal Azad from Nottingham Women’s Centre http://www.nottinghamwomenscentre.com/ The workshop is chaired by Sue O’Sullivan from Spare Rib and Sheba Feminist Press, and the second half of the session will be an open conversation. We are also totally delighted that the after-conference party will feature blast from the past pioneering 70s feminist band the Stepney Sisters, plus other great music-makers! To buy tickets and for more info on workshops, speakers and the whole day’s events, please see http://www.feminisminlondon.co.uk

Greetings from the Women’s Liberation Music Archive

Today we’re marking the 3rd anniversary of our online launch on May 1st 2011, the date chosen in solidarity with the tradition of May Day. We began with writing a list of twenty or so bands on the back of envelope in 2010 and now, seventy two thousand website visits later, the archive has 150 entries and is still growing. If you can help us to expand and ensure no-one is left out, we welcome new info to help develop the project. It’s not solely about musicians and singers: we’re documenting and celebrating DJs, journalists, event organizers, photographers, sound technicians, poster and magazine producers and everyone else who created the infrastructure for the music-making and cultural-political activism of the 70s, 80s and beyond. And we like to link with our predecessors to show the continuity of feminist music-making. If you have material you think should be in the archive, or know a woman who does, do contact us!


Happy Equinox from the Women’s Liberation Music Archive

Happy Spring to all our friends and followers! Big thanks to all who have offered to take our leaflets to distribute – let us know if you need more! The WLMA team kept busy over International Women’s Day/week, marching with Million Women Rise to end violence against women, leafleting the Women of the World Festival on London’s South Bank and we’re now enjoying planning meetings to organise a workshop about archiving women’s history at the next Feminism in London conference. We’re very pleased to be part of the newly-formed Feminist Libraries and Archives network and will keep you posted on FLA’s activities. We’ve got lots of ideas happening in the run-up to the third anniversary of the online launch of the archive, so watch this space! 2014 WLMA poster

Happy New Year from the Women’s Liberation Music Archive!

A very happy new year to all friends of the Women’s Liberation Music Archive and thanks to everyone who supported us in 2013, sent us items to be archived and helped to spread the word on feminist music and political activism! A warm welcome to all our new followers.

The WLMA team has been busy over the past months. We’ve run stalls at events such as October’s Feminism in London conference, taken our presentation slideshow on the road to places like the Older Women and Friends festival in London organised by Opening Doors, Age UK’s older LGBT project, where a lively discussion took place amongst women who had been involved in Spare Rib and Drastic Measures magazines, Rock Against Sexism, Spare Tyre theatre group and various WLM groups. We distributed hundreds of our flyers to noticeboards and audiences far and wide, including those at the Musicport World Music Festival in Whitby; the Anti-capitalist Roadshow; Lewes Folk Festival; the London Feminist Film Festival; Trouble and Strife’s 30th anniversary celebration as the newly-digitised groundbreaking magazine marked its online availability; the London Jazz Festival’s Guest Stars’ reunion gig and more. Thanks to all our volunteers! If you know of a group who might be interested in hosting our presentation, or if you’d like to distribute some of our leaflets, please let us know.

A group of women enjoying a workshop discussion; display board of  WLMA items in background.

Older Women’s Festival workshop photo (c) Mel Johnson

During 2013 we added and expanded the entries on our website with new items including a documentary on 1990’s Chard Festival of Women in Music, new films and recordings of the band Meet Your Feet, tributes to the late great Lindsay Cooper, songs from the Pre-Madonnas, oral history interviews, and more – please see ‘What’s New in the Archive?’ for page links and more info on these and other developments made since our May Day 2011 online launch. In the coming year we have promises of more interesting newly-digitised material from various musicians including the feminist duo Ova and others.

Presentation of slideshow and talk being given at workshop.

WLMA presentation at Older Women’s Festival photo (c) Mel Johnson

We will be adding new donations of material to the Feminist Archive South collection at the University of Bristol, liaising with other women’s history archiving/digitising projects and expanding our geographical reach. We’re keen to hear from you – do let us have your feedback! And please get in touch with us if you know of anything that should be included in the archive – we welcome information on women musicians whose work preceded the WLMA, and are pleased to be developing links both internationally and with the current burgeoning feminist campaigns in the UK.

Three women smiling behind a stall displaying CDs, WLMA leaflets and posters, smiling and raising glass.

Some of the WLMA team celebrating at Trouble and Strife’s anniversary event. Photo (c) Terry Hunt

Best wishes for the year ahead from the WLMA team to all of you – and for everyone working for women’s liberation everywhere.

One of the three women from Russian punk feminist group Pussy Riot jailed by Putin  emergs from  prison giving victory signs.

Please forward this to anyone you think may be interested in the WLMA. But if you would prefer not to receive WLMA info, or think you are on this list by mistake, please let us know!

Lindsay Cooper: 3 March 1951 – 18 September 2013

In this tribute to Lindsay Cooper written specially for the WLMA, accompanied by a portrait kindly shared by another friend, Val Wilmer, Maggie Nicols shares her memories of the late great musician and composer.

LINDSAY COOPER – a personal recollection

I first met Lindsay in the early ‘seventies, when she was working with the radical  ‘Ritual Theatre’ and I was running music workshops. The location was the pioneering community arts centre ‘The Oval House’, in South London run by Peter and Joan Oliver.

Lindsay came with some of the theatre group, to one of my workshops It was too long ago to remember details and I didn’t think at the time, these memories are going to be important one day. I do remember Lindsay as innocently flirtatious and me as a bit nervous about that. I only knew the sixties butch fem scene & Lindsay was not either and it confused me. This was before I became exposed to feminism.

Lindsay was a feminist before me but we both shared a commitment to socialist politics. I had joined the Socialist Labour League and she was in the political and radically musical rock band ‘Henry Cow.’ Our paths crossed from time to time and, as we were both active in the Musicians Union, we would see each other at branch meetings and hang out a bit. It wasn’t till I  became involved in The Women’s  Liberation Movement in 1976/7 that we developed the close friendship and musical and activist collaborations that lasted decades.  Up to then, all my intimate musical experiences had been with men with one notable exception, my dear musical soul mate, singer Julie Tippetts. Through becoming involved in a relationship with a lesbian separatist, I found myself in this rather overwhelming and a bit scary women only world, centred round a couple of streets of women’s squats in Vauxhall.

It was around that time I attended a ‘Music For Socialism’ event in which the only female musician was singer Carol Grimes. Emboldened by my new exposure to women’s liberation, I confronted the organisers about this and they suggested I get a women’s group together!! At the next M.U meeting, I excitedly approached Lindsay Cooper. I think I wanted to show off a bit that I was now a bona fide lesbian feminist and no longer nervous of her. Together we set about gathering together women for our group. At that point, I only knew one female instrumentalist, trumpeter Corine Liensol, who I’d met at one of the squatted houses in Vauxhall. She was well up for it and had no qualms about improvisation. We decided we would be a women’s improvising group; open to all women musicians who were open to improvising musically.

Lindsay had worked with cellist and bass guitarist Georgie (Georgina) Born in ‘Henry Cow’ and also knew singer and pianist Cathy Williams from the political rock scene. I told the organisers of the next Music For Socialism event that we were ‘The Women’s Improvising Group.’ To our surprise, the publicity leaflets named us as ‘The Feminist Improvising Group’  and we sort of went, you want feminism, we’ll give you feminism. We met and workshopped ideas. Lindsay was wonderful in that first gig.  Dressed in prescribed classical music attire, she brought a whole array of props, including a washing up bowl, onions and perfume spray to get rid of the smell of onions! We improvised our lives: a radical form of music theatre that embodied the feminist principle ‘the personal is political’ We both enthralled and appalled audience members and the public discussion that followed was lively to say the least.

For the next few years FIG revolutionised improvised music and made it accessible to a much wider audience. One of my abiding memories, which was filmed but by whom I cannot remember, was when Lindsay and I got so carried away, in a gig abroad, somewhere, that we occupied the gents toilets and would not let the men enter. We stayed there for the whole of the break and then did a three legged ‘race’ back on stage, using Lindsay’s sopranino sax as one of the legs.

In its prime, FIG was anarchic and musically adventurous. We shapeshifted between intricate musical passages, biting satire and unashamed slapstick humour;  a social virtuosity of mixed ability. Quite a few women were involved with FIG, including  pioneering improvising pianist Irene Schweizer,  trumpeter Corine Liensol, vocalist and keyboard player Cathy Williams, saxophonist Angele Veltmeijer,  trombonist and violinist Anne Marie Roelofs, guitarist Francoise Dupety and singer Sally Potter. Singer Frankie Armstrong also joined us for a couple of gigs.

When FIG disbanded Lindsay and I continued to play together and hang out as friends. We used to discuss our Piscean tendencies to go off into ‘lulu land’ when we became enamoured with someone. We shared many confidences. We also continued our union activism. We were instrumental in putting radical motions up at union meetings  which challenged sexist attitudes and practices and were delegates at the conference where we also danced intimately together at the social just to get some of the other delegates a wee bit off balance.

We were in a lot of different music groups together. With double bassist Joelle Leandre, we made the album ‘Live At The Bastille.’ It was the anniversary of Bastille day and we played there, in Paris. We also played in Irene Schweizer’s  EWIG, European Women’s Improvising Group and then as part of an initiative by Anne Marie Roelofs, ‘Canaille’, several festivals of different large ensembles of women improvisers from all over the world, playing in different combinations, mainly in venues in Germany. Out of these combinations came some ongoing groups, including ‘Al Dente’ with Lindsay, me, pianist Elvira Plenar and accordionist Michelle Buirette.

The name came from a running ‘sketch’ that Lindsay and I loved to act out about how we liked our spaghetti. On Facebook, on hearing of Lindsay’s death, violinist Susannah Ferrar  remembers a long car journey abroad in which Lindsay and I kept this up for quite some time. She says it was very funny. Another  recurring gag was how Lindsay would longingly say that she wished she could study with Andrew Lloyd Webber and I would say how then she would become a proper composer. I remember, one time, standing opposite The Drury Lane Theatre where ‘Cats’ was playing and both of us pretending to swoon as we spoke in gushing tones of our ‘hero.’ In fact Lindsay was one of the most inventive and original composers of our time and I was lucky to sing many of her compositions. They are truly inspiring and great to sing.

Until it was too difficult because of failing health, Lindsay would travel with us and sit in a wheelchair at the front while Phil Minton and I  sang our hearts out and the band played the seamless diversity of her compositions. We also worked as a duo, once travelling to Prague and sharing some great music and experiences out and about in the city. Lindsay wrote extensively about her travels and I hope it gets compiled in a book. It’s warm, witty and excellent writing about her life as a musician on the road.

She also wrote about her MS and what it was like to live with the disease. I remember when she told me she had decided to come out about having MS. She had lived with the knowledge of her illness for a long time. When we were on the road with FIG, she knew about it. Lindsay introduced me to her yoga class and I introduced her to my therapist! We both benefited enormously from those introductions. I saw a lot of her while I was still in London. We used to do collective practice, me at the piano, singing long notes and Lindsay playing bassoon or sopranino. Then the music happened less and less and it was talking about everything; love, politics, spirit, philosophy ….

It’s strange when you see a lot of a person, you don’t notice the changes so much. It was only when I became more involved with supporting my daughter and then my mum in Wales and I saw less of Lindsay, that I noticed how her health was deteriorating. Mum moved to Wales in 2002 and my daughter and I were there most of the time. The gaps between visits to Lindsay grew longer: birthdays, Christmas and trying to see her whenever I was back In London. She moved from the place she loved, round the corner from Marchmont Street, because of the stairs and then she needed carers and then 24 hour carers and then she would be in bed watching the telly when I visited, although her carers assured me that she still sat in the garden in her wheelchair. They were brilliant. They genuinely cared about her and honoured her. Lindsay gradually lost the ability to speak and feed herself; yet always I sensed her fierce spirit, her determination to survive. Because I was seeing her less and less, I projected my guilt onto looks she gave me, thinking they were looks of anger. Luckily I let that go and our last visits together felt like peaceful meditations.

A few weeks before she died, I phoned and the carer put on the speaker so I could talk to Lindsay. I’d asked if I could write and the carer had suggested I email and they would read it out. I said I’d rather write a letter. The carer said she would ask Lindsay which she preferred. With Sally Potter, they’d developed a way by which Lindsay would blink to indicate ‘yes’ or ‘no.’ Lindsay made it clear, she’d prefer a letter! Oh yes, that definitely felt like Lindsay; inspired writer that she was, an email sound bite would not suffice. For me it’s a bitter irony that I hadn’t thought to phone or write before. I thoroughly enjoyed writing to her and looked forward to writing regularly. There’d been a family crisis and everything else had been displaced. As things improved, I looked forward to visiting her when I next went back to London.

I got a phone call from Irene Schweizer who’d had an email from Sally with the news of Lindsay death, then an email from a friend of Lindsay’s arrived. She’d managed to get my address. I am so sad I didn’t get to say goodbye. I didn’t know she was dying. Apparently she contracted pneumonia and her immune system was too weak to withstand any more invasive treatment. Her close friends rallied round. Sally was with her day and night in the last days of her life, supported by other friends of Lindsay’s. Lindsay’s funeral was beautiful; her music was played and people who knew her spoke of her with great love.

Lindsay we had such laughs together and we also supported each other through heartache and encouraged each other’s growth. We had become so close and then circumstances deprived us of more time together. Thank you for those last peaceful visits and for wanting a letter from me.

I would encourage everyone to find out as much as you can about this unique woman who was such a brilliant musician, composer, activist and thinker.

(c) Maggie Nicols, October 2013

A portrait of Lindsay Cooper smiling, holding her sax, in front of a piano.

Photograph of Lindsay Cooper copyright Val Wilmer. Not to be reproduced in any way without permission.

Matthew Watkins of Canterbury Sans Frontieres has compiled a four-hour tribute to Lindsay based around an interview she recorded with Val Wilmer in 1992, interspersed with a lot of different music from her remarkable career. Thanks to Matthew, who says ‘putting this together was a real labour of love for me, and some of your readers might appreciate it.’ Listen to it here: http://canterburywithoutborders.blogspot.com/2013/10/episode-8.html