ABSTRACT
Bayton is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. The chapter discusses connections between some of the themes of this writing, and theoretical work in feminism and in popular music. The way in which the computerisation of music worked to exclude women and girls from pop production in the 1980s has not gone unremarked by feminists. In one sense this was nothing new: technology had for a long time been incorporated into rock and pop via ideologies that linked technological expertise with masculinity. The chapter explores the implications of these debates for women, in particular in relation to the end of a history from which they have largely been excluded.
