One expression that’s doing my head in at the moment is “girls’ band”, which seems to be routinely hurled as an insult by male fans of one group at a rival group. The principle seeming to be that if too many girls like a band, that automatically proves that it’s a rubbish band with no credibility, as girls don’t understand music and have no taste.

All too often, on music message boards and forums there appears to be a widespread assumption that if a woman keenly follows a male musician, it can’t possibly be because she understands or appreciates his music, it must be because she fancies him.

This is strange, given that most of the time women get told that only men are visually stimulated and that (if we’re heterosexual) it’s natural for us to choose a partner for his nice personality, not his looks, otherwise we’re “superficial” and “mean”. And yet, when it comes to pop musicians, we apparently become raging balls of hormones who fork out oodles of money for CDs and concert tickets, regardless of the musical content, merely because we can’t resist being swayed by a pretty face. Even if the musician concerned is the wrong side of 50 and looks like Mr Potato Head.

Of course, I’m exaggerating a bit, here. I have also interacted with male music fans on the internet who have been courteous, friendly and genuinely interested in what I and other female fans had to say. But all too often, as elsewhere on the internet, anything posted by a user with an obviously female-sounding user name gets ignored, while exactly the same point made by a male fan a few posts later gets rapturously applauded and fawned over for its wisdom and perceptiveness.

And it’s not just female fans that get patronised or ignored, it’s female artists, too. One male artist I particularly like recently collaborated with a female singer/songwriter. I wasn’t at that point familiar with her work, but I knew she was respected in the industry for her technical proficiency (she was classically trained) and had gained critical acclaim for her debut album, which had been considered daring and innovative. Which of these aspects of her work might have drawn my favourite musician to work with her? Intrigued, I logged onto a fan forum devoted to him, to see what other fans thought.

“Do you think he’s fucking her?” was one of the first suggestions posted by male fans pondering this question, followed by a lengthy discussion of her physical attributes and a debate about whether other male fans would do her, as well, had they the chance. That a male musician might wish to work with a female musician because he was genuinely excited about her work or looked up to her as a songwriter or instrumentalist apparently didn’t even occur to them.

You would think that female artists might at least be safe from sexism from their own fans. You know, fans? People that allegedly like the artist? Alas, no.

While visiting a blog devoted to a little-known, long-deleted female indie singer, I was surprised to see that one male fan had confidently, but completely wrongly, attributed the writing of all three of the artist’s (self-penned) albums to her male accompanist. The most worrying thing is that he seemed a pleasant chappy who was obviously devoted to the artist in question and clearly hadn’t meant it offensively – when corrected on his assumption by another fan, he apologised, explaining “I read somewhere that he played the keyboards on her albums and I was led to the wrong conclusion that he had written her songs”. Well, yes, easy mistake to make, he had a Y chromosome, he was somewhere on the record…a far more “obvious” conclusion, apparently, than that the woman with her name on the front of the sleeve might be capable of a little creative autonomy.

This widespread tendency of fans and journalists to underestimate the creative input of female artists to their own work has been remarked on by many well-known musicians, including Sharleen Spiteri:

“No one ever wants to give the credit. There has to be a man up there pulling the strings.”

and Bjork (thanks to my friend Yoana for pointing this quotation out to me):

“I have had this experience many, many times that the work I do on the computer gets credited to whatever male was in 10 meter radius during the job. People seem to accept that women can sing and play whatever instrument they are seen playing, but they cannot program, arrange, produce, edit or write electronic music.”

Still, if even the god-like genius that is Bjork gets subjected to this kind of crap, perhaps it’s some small comfort to the rest of us, next time our opinions and ideas are belittled because of our gender, to know we’re in such exalted company.

Friends sometimes tell me it’s pointless getting worked up over something so trivial, that there are bigger battles to be fought, that in the scheme of things it doesn’t really matter that much whether my opinion on electropop gets listened to or not. But, for me, this is symptomatic of attitudes elsewhere – just another part of the everyday process whereby women’s experience is marginalised and women’s intellect, expertise and creativity doubted in our so-called “post-feminist”, “gender-neutral” society. And that’s what makes me seethe.

Back in the eighties I used to watch The Tube, I remember seeing this funny, vibrant woman wearing prom dresses and sporting a tattoo. No woman presenter on T.V looked like or interviewed like her. The Tube itself was descibed as shambolic and an alternative Top of the Pops, it was here that Paula Yates could shine

Previous to this she was simply known as Bob Geldofs wife, a groupie who got lucky, no mention was made of her career as a rock journalist, did she just get the presenting job because of her husbands connections? Even if she did, she grabbed the opportunity with both hands and made it so that she was a vital part of the programme and was never ‘replaced’ with a younger model through the years.

Paula raised a family, was not eclipsed by her high profile husband and managed to stay afloat in a very tough industry – is this not a mark of a feminist?

Paula did all this by expressing her femininity and raw sexuality which, in turn, masked her intellect – are feminists not allowed to be sexual? Have you never flirted in order to get better service in shops or get served first in a crowded bar?

Paula wrote two books on childcare which reflected what a great mother she must have been, funny, caring and practical albeit with nannies, but the books reflect that she was ‘hands on’.

Then of course along came Micheal Hutchence starting with the infamous big breakfast interview and ending with the tragic early deaths of both. When Paula left Geldof for Hutchence was it Hutchence who was cast as the home wrecker? No, Paula was cast as the villain in the piece, and,  in the eyes of the media she was back to being a groupie who got lucky and left poor Sir Bob, was she guilty of acting in a male gendered way?

I think it must of taken guts to leave such a (by that time) ’sainted’ high profile husband and still live her life in public. I think she was unique, clever and a pioneer in reconstructing how a woman should act and I would definitely say that , to me, is what feminism is all about.