I remember reading Tyler Vile's interview with Zillah Minx and was simply spellbound by her. Zillah is nothing short of amazing... She has done it all but has always been loyal to her DIY roots.... Be it her music, films or fashion it has always been DIY.... I was lucky enough to ask Ms. Minx some questions for the 40 year Anniversary of Punk... Please enjoy my interview with Zillah Minx as she shares her story with us......


You are best known for your film She's a Punk Rocker and your work with the innovative Rubella Ballet. Had you gone to school for film or directing before you started filming She's a Punk Rocker?

In 1994 after years of going to work and being in Rubella Ballet I decided to go to university. I had been offered a place on a Law course when I was 18 but I met Sid and we formed Rubella Ballet. Touring in 1979 with bands Crass, Poison Girls, Conflict, Flux of Pink Indians etc. was a much more appealing idea. By 1994 I was bored with working and thought University would be fun I like learning. I chose to do a Bachelor of Arts in Communications. By the time the course started the University had included audiovisual production to the course. So I did the basics in film school and continued my ideas when I left.


I personally am so happy that you had the incentive to document the importance of females in punk. Who was your very first interview?

Thank you when I first started to do the interviews in 1990's a lot of people including punk women told me to forget it Punk was over no one cared. A lot of punk bands were having a really hard time in the 90's because the UK mainly had DJ's and rave music in clubs. The reason I made the documentary was because I knew so many punks and punk women in bands and I knew we had our real punk herstory to tell that wasn't being told. The mainstream represents punk as just a couple of bands usually The Sex Pistols and The Clash and they don't even mention our lifestyle. So I decided to go over to see my friends at Dial House CRASS had three women in their group. Gee Vaucher graphic designer for CRASS, she made the posters, record covers, tickets all their art. When I asked her to contribute to my documentary with an oral history interview she refused. To compromise she decided we would conduct the interview whilst she was filming around the grounds of Dial House where CRASS live and I could follow her around whilst interviewing. So I actually have a lovely hour-long interview with her.


Tell us some of the women you interviewed?

Here is a list:
Poly Styrene: Lead vocalist, X-ray Spex.
Gee Vaucher: Art Work, Crass
Eve Libertine: Vocals, Crass
Gay Advert: Bass Player, The Adverts.
Helen Of Troy: Actress and Vocalist, FU2 & credits Rock n Roll swindle
Julie Burchill. Journalist.
Vi Subversa: Lead Vocalist & guitarist, Poison Girls.
Lulu Moon: Lead Vocalist, Evil I
Caroline Coon: Journalist/Artist
Zillah Minx: Lead Vocalist, Rubella Ballet
Michelle: Lead Vocalist, Brigandage
Justine: Violinist, Grechen Hoffner
Olga Orbit: Keyboards, Youth in Asia
Nettie Baker: Journalist / Poet
Ruth & Janet: Vox & Guitarist, Hagar The Womb
Rachel Minx: Bass player, Rubella Ballet
Kara: Child ballet dancer, Rubella ballet
Mary: Bodyguard to Poly-Styrene


When I made the documentary I only used about ten minutes of each women's interview. But look at who is interviewed can you imagine how interesting those individual punk oral histories are? Because this is real oral history of punk as lived by these women it is of great historical, social, cultural value, we can't let it be lost or misrepresented by others. So in 1990's I offered my collection for free to The British Library oral history section. They of course were interested and wanted my collection, however they asked me to digitize, logue and transcribe all my collection for them. I didn't have the time or money to do all that for them for free and they only suggested I apply for funding to other organizations to do the work. I had no chance of getting funding so I left it. Some years later The Lottery Heritage fund allowed individuals to apply, I think only one has ever been accepted with a personal collection. So I again asked The British Library who agreed they wanted my collection and would give me a letter for the Lottery heritage fund that would help with my application so that I could donate the collection to them. So for over a year I had numerous phone calls, texts, meeting with both organisations. I also had to go through the process of completing the application process and applying. I did everything required then the British Library started stalling me and wouldn't send a letter of support. I decided to apply without the letter and was refused funding as it was believed I would be a delivery risk if I didn't have a letter from a British Institution that wanted my collection for free. Then I found out that a made up institution named itself PUNK.LONDON and got 90k that they used to promote British institutions such as The British Library, The Victoria & Albert Museum, The Museum of London and more where given this money to put on their own punk shows. Even though as institutions they charge an entrance fee, get national funding from taxes and grants, they still got a cut of yet another fund paid for by people who buy lottery tickets and think charity money goes to hospitals or old people. So I introduced the institutions to the idea of punk celebrations then they cut me out. Not one to be surprised at how artists & the working class are constantly ripped off for ideas and culture, I decided fuck them. In keeping with my DIY punk ethics I will find a place myself to exhibit my punk collection & films. I will put all the individual interviews on YouTube so more people will see the historical oral history of punk told by those who were part of the scene so were actually there as punk was created. Many punks lived with others who went on to be in famous bands or in bands themselves. Whatever punks did their herstories are fascinating.





Were you friendly with Jayne County and did you ever approach her about an interview?

I love Jayne since her early punk days as Wayne County and The Electric Chairs. I remember talking to other punks about how brilliant it was that she had a space within the punk scene to openly become what she was a woman. I never met her or found a contact so that I could interview her. However now we have Facebook I have found her and may well ask for an interview if we can find a way I'm sure we will do it.


I remember hearing about you and your film through Nettie Baker. She is interviewed in your film. How did you two meet?

Rubella Ballet where looking for a new guitarist and Leda came over to our flat she was only 18 but she played awesome guitar She was also like us a psychedelic punk she even played and sounded like Jimi Hendrix and mixed that with a punk sound like a pro. We loved a bit of Hendrix guitar and a young girl playing guitar so amazingly we wanted her in our band. We already had female bass players and Gem was only 13 when she formed the original Rubella Ballet with us. It was some weeks later when we found out that she is Ginger Baker daughter. Of course we met the whole family, Nettie the oldest daughter same age as me, their brother Kofi also a drummer and Liz their mum. They where all punks living in an average house in Harrow. At this time their dad had left them and they had come home from school to find they had been evicted from their mansion that they shared with their dad before he left. They all thought it was hysterically funny that their dad hated punk music and they were all punks. We are all still friends today we filmed Ginger Baker live at The Jazz café in London as a favour for Nettie. I also invited Nettie to be interviewed in my documentary 'She's a punk Rocker U.K" and she often attends Q & A with me. Nettie is the author of her dads book "Beware of Mr Baker" Nettie is currently writing her own book about her days as a punk and life with her dad Ginger Baker of Cream.


Of course one of the stand out interviews is with the late Poly Styrene. You shared a long time deep friendship with her. Tell the readers about that?

Poly styrene of X-Ray Spex was my favourite singer her lyrics are so amazing. I became best friends with her at a time when no one wanted to know her because she was known to have mental health problems, which landed her into the Maudsley Hospital. She was no longer playing in X-Ray Spex and was writing new music that none of the record companies wanted. I took over fifteen years to persuaded her to play a gig as X-ray Spex. When she finally played the Roundhouse, Sid Truelove our drummer was picked specially by Poly to play drums for her after seeing him play. This helped her to rehearse for a year and play the gig because she had us with her at all times. On the night of the gig she was still a risk as she really was due to her illness very stressed and possibly would not go on. On the night it was fantastic like a punk karaoke as all 3000 people in the audience sang along to every song. Poly had asked me to be a backing singer for the gig but even though I wanted too I refused as I said everyone wanted to see the original X-Ray Spex and hear her sing not me. I wanted everyone to see the fantastic Poly Styrene with the wonderful vocals. However after the gig when we were all back stage and the band was about to do an encore Poly said do you want to join me for Oh Bondage Up Yours. I was ecstatic, I couldn't get on the stage quick enough, to sing and dance with delight as I was joining my best friend to sing my favourite song at what was to be her one and only gig since X-Ray Spex split up. It's now a treasured memory. Poly and I would talk on the phone several times a day often because she was suffering with her mental health issues. But we would also discuss political issues and write lyrics and record together. I would also help her with her correspondence I remember when CBGB's was closing they asked Poly to go and play. Poly would ask me to communicate with people so I tried my hardest to get her to play but she just couldn't do it. We are all so lucky she finally got the courage and strength to play The Roundhouse for her last ever gig and I got to join her on stage to sing with her the last song she ever sang live. The classic punk anthem "Oh Bondage Up Yours"





You also have Caroline Coon in your film... Was she managing The Clash at the time of the interview?

No it was after she was their manager. She also managed the Slits and was around the Sex Pistols interviewing them as they started their gig career including being with them in France. Her inside stories of the early punk days as bands formed and toured are amazing. Caroline photographed these punk bands and produced the earliest & most awesome book on punk ever, '1988 The New Wave Punk Rock Explosion'. Caroline managed The Clash when they made their punk political slogan shirts, War & Hate, she posed them for her photo shoot up against the wall arms in the air.


Another interesting interview is Julie Burchill. Tell us about her?

The secret weapon I had on my side to get interviews with women I had never met was Poly Styrene. Poly often had phone contacts for people who wanted to meet her so these people often agreed to see me if Poly was with me. I had never met Julie before but I think her story of working class women from wales coming to London and being employed by NME is very relevant to how punk provided certain opportunities for working class women previously almost impossible to achieve.


This year is Punk Rock's 40th Birthday. Tell us what you will be involved with to help celebrate?

I hope to put on my own DIY punk exhibition and Film festival. Venues and dates are still being confirmed. I am currently making a film about The Sex Pistols including Sid and Nancy story. I am doing this because I have so many interesting stories to tell on this subject from a lot of the women I interviewed who shared time with The Sex Pistols. Poly Styrene and Mad Mary share stories of how they fancied John & Sid. Mary was very close to Sid, her and Poly would often hang out with The Sex Pistols. I have also interviewed a lot of European and American women to give their angle on the punk story for further insights into our punk world. I interviewed Hellin Killer who was also Sid Vicious girlfriend and lived with Sid and Nancy, she has some very touching inside stories. I will also record and add new interviews to my youtube channel and start to include new and old interviews with men. I already have a documentary on youtube where I interview Steve Ignorant of Crass in 1997.



I am doing this because I want to tell the real story of punk and I have unique access to so many punks as I have played gigs with most of them. So many great punk women and so many more still to be interviewed.

Will you be at this years Rebellion festival?

No Daz the promoter wanted to vary the line up a bit this year so we have not been asked to play, maybe next year. Rebellion is one of the best festivals to play because you get time to meet up with all your friends and really enjoy being a punk in a great venue with loads of bands to choose from.


I know that you have become close with filmmaker Susanne Tabata who is the woman behind the film "Bloodied But Unbowed"... Will you two be joining forces this year for the celebration?

I'm trying to arrange a film festival in London for 40 years of punk showing our films. I really want to play films made by women about punks.

What are your thoughts on Malcolm Mclaren's son's non participation of the event?

I agree with him the establishment has stolen our culture and is trying to sell it without any of us. But I wouldn't burn the stuff I would display it for free or give it to a worthy cause to raise money for punks.

I agree burning all that memorabilia is stupid... Don't let the the mainstream use it but do not burn it! Tell us about other anniversary celebrations that are in the works?

All the main establishment institutions are putting on their own ltd punk exhibitions, but usually they are mainstream with no new insights or information on punk.


Which ones will you and Sid be involved with?

Only ones we organize ourselves and with other punks.

Tell us some background on Rubella Ballet?

Constructed around the enduring nucleus of Sid Truelove and Zillah Minx, Rubella Ballet formed at a gig in 1979 when Crass invited their audience to use their equipment. Having been drawn to the punk movement during its initial stirrings in 1976, Zillah and Sid became increasingly committed to its lifestyle alternatives, taking up residence at a large commune that included the Poison Girls, located near to Crass' Dial House headquarters. The newly formed group took to the road with Crass and the Poison Girls, quickly establishing a unique niche and standing out from the multitudes in black combat wear with their vibrant visual image. Always looking beyond the anarcho scene's encroaching orthodoxy, Rubella Ballet assembled a diverse range of material that encompassed all points from perky to doomy, with lyrics that juxtaposed protest and dissent against more impressionistic themes. Having made an immediate impact with their groundbreaking 'Ballet Bag' cassette pack, recorded in 1981, Rubella Ballet gigged heavily, presenting a celebratory spectacle of ultraviolet defiance that was driven relentlessly onward by Sid's mighty tribal rhythms and given context by Zillah's siren-song vocals. Pulsating with energy and colour, the group burst forth from the then-ubiquitous shadow of Crass to headline their own shows and transcend narrow genre definitions. Given the band's singular nature, it was hardly surprising that they soon came to the attention of legendary DJ John Peel who commissioned the first of two sessions from the band, a five-track set that aired in July 1982. The summer saw Rubella Ballet's vinyl debut, the four-track Ballet Bag EP, which emerged to considerable critical acclaim and subsequently topped the then-influential Independent Chart, necessitating a second pressing. This success attracted the attention of some major labels, which the group dismissed in favour of retaining their independence. After recording a second John Peel Session in January 1983, they supported Death Cult on their nationwide tour, their genre-spanning sound and image appealing to the large goth and post-punk audiences. Rubella Ballet's inclusive ethos not only transcended the established boundaries of youth culture, but also became evident in the support and assistance they offered a wide range of newly formed bands including Ritual, Sex Gang Children, Ausgang, the Skeletal Family and 1919. This period also saw Rubella Ballet appear regularly across the music press with high profile features in magazines such as NME, Sounds, Melody Maker, Zigzag and Punk Lives. True to their principles, the group contributed heavily to the burgeoning DIY fanzine culture, helping raise the profile of a multitude of photocopied publications with their approach-ability and readiness to be interviewed. In addition to the group undertaking their first European tours, 1984 saw the release of their first twelve-inch single '42°F', released on the Jungle label in April. Indicative of their expanding creative horizons alongside an asurdness developed through constant gigging, the single appealed to a wide-cross section of alternative cultures and again hit the Independent Top Ten. Weary of the atavism that existed even within the independent music scene, Rubella Ballet's next releases - 1985's long awaited At Last It's Playtime LP and the non-album 'Money Talks' twelve-inch would be issued on their own Ubiquitous label. As well as bringing their riot of Day-Glo energy to pubs the length and breadth of Britain courtesy of the developing trend for video jukeboxes, establishing their own label would see the group embark upon their most prolific period of recording. Their increased profile led to an enthusiastically received first American tour, with both Playtime and 'Money Talks' topping the KXLU Radio Chart in Los Angeles. Rubella Ballet's third twelve-inch single, 'Arctic Flowers' followed shortly after, while their second full length vinyl set, If - considered by many to be the group's finest release to date - hit the streets less than a year after their debut album. 1987 saw the group re-energize their back catalogue with the Cocktail Mix LP, before the live double album The Ballet's Birthday Box captured their live power with tracks recorded at their 7th Anniversary Show at London's Savoy Ballroom, alongside material recorded on their first US tour. At The End of the Rainbow, an album bringing together a selection of the band's back catalogue, emerged on the One Little Indian/Brave imprint in 1990. Rubella Ballet at the end of the decade decided to embark on a long series of celebratory live shows that would see them traverse the UK and Europe throughout the next ten years, including appearances at the popular annual Rebellion Festival. The warmth that greeted the band provided testament to their legacy; a lifetime spent in pursuit of individual freedom and creative expression in defiance of a society that seeks to monitor, exploit and oppress. In 2008, the earlier corpus of the band's back catalogue was released by Overground Records as the Anarchy In The UV compilation, with subsequent material being collected on Never Mind The Day-Glo, issued by the same label two years later. Recent gigs have shown that their power continues undiminished, with an original, atmospheric black UV light show and performances that continues to defy stereotypes. Their songs that have politically and ethically more than stood the test of time, showing how groundbreaking and ahead of the curve Rubella Ballet's stage show, music and ideas really were. Now, 35 years on from their inception, Rubella Ballet has issued Planet Punk - their first album of new material for over 25 years. Already, lauded as the group's crowning achievement, it is quite evidently a labor of love, and that love shines through - a beacon of positive illuminating the multilayered mists of lies, disinformation and obfuscation. "The overriding message of the album is not to believe everything you hear on the news, or read in the newspapers - as the very same people we are protesting against are those compiling the news" explains Sid. Throughout Planet Punk, both the medium and its message are rendered with skill and passion to produce an album that equals, and in some respects exceeds, the best of Rubella Ballet's back catalogue. In particular, Sid's abilities as a multi-instrumentalist and producer are made manifest, while Zillah's vocals display impressive authority across several of the disc's 15 tracks. Providing a neon-lit route map of post-millennial oppression and exploitation, the album hits its lyrical targets with precision. Planet Punk also contains highly motivated and political songs about a variety of subjects including the Illuminati, government brainwashing, the New World Order agenda, global corruption, the creation of new strains of flu virus to reduce the human population. It covers issues such as what really happened during 9/11 to atrocities that have taken place closer to home, including the police cover up of the 1989 Hillsborough Stadium disaster. Whatever expectations you may have about this album, be prepared to have them both confounded and surpassed. 'Planet Punk' is not only a superb summation of everything that made Rubella Ballet unique but also takes the group into new, exciting realms. Explore with them.





You became a fashion icon because of your clothing while playing in the band. Tell us about that?

I have been a punk since 1975 when I was 15, before the Sex Pistols where on television and revealed punk to the world. At the time myself and the majority of people involved in the creation of the punk scene made our own clothes or bought second hand or army surplus or weird clothes they found in obscure independent shops. I did a mixture of all these but mainly I made my own clothes. Material was cheap in the markets around me in the east end. I loved creating my own punk style. I also knew Poly Styrene of X-Ray Spex who had a stall in Beaufort market in the Kings Road. She sold a mixture of 50's winkle picker shoes and weird plastic clothes. One of Poly's dresses was a plastic tablecloth of an eggs and bacon breakfast. She also had lots of neon plastic clothes and accessories. At the time those of us that were becoming punks were also creating our own looks my friend dressed in all black with black lipstick and make up. I went for the plastic clothes, clothes peg in ear dummy round my neck on a chain and I made clothes from children's bed spread material because it was Batman, Superman, and Mr Men any cartoon characters made great dresses. Rubella Ballet started playing gigs as support to CRASS & Poison Girls. Both bands had a stage image CRASS wore black army surplus and Poison Girls wore red and Black. We just wore what ever we had made. Eventually it warped into full on fluorescent as we used black lights on stage to make the clothes glow. The first time we used the black lights was on tour with Death Cult. Ian Astbury was a good friend and admirer of Crass and Vi Subversa. I later added to our stage show with fluorescent make up, hair colour, etc. and we made a huge fluorescent backdrop for the stage. I've been doing the neon look since the early eighties and I have been copied with lots of my looks such as neon net skirts, corsets, each nail painted a different colour, cartoon character clothes, etc. But I was never credited until Louise Gray said. " Zillah Minx of Rubella Ballet - she was one of the originators of punk in London. She wore colours and used UV paint to make her clothes and sets for gigs so everything was illuminated! I LOVE HER" Louise Gray, Elle Magazine May 2013


You finally got the credit you so deserve!! Louie Rawks!! I bet you have some wonderful memories from your tours with The Poison Girls and Crass. Do you care to share a few?

The early gigs with CRASS & Poison girls at Conway Hall were always memorable as National Front Nazis skinheads fighting stopped nearly every gig. But the venue was memorable because they were part of the early gigs when punks all dressed diversely, very individualistic in style. Maybe there were more political & art students as well as media at Crass gigs?. These gigs were like the first punk gigs of The Sex Pistols, X-Ray Spex, Adam & The Ants, Siouxsie & the Banshees there was a very mixed audience and punk continued from the Rock against Racism days politically towards Anarchy as a lifestyle with Crass and all the other Anarcho bands. I remember one minute I was at my first CRASS gig, then I met Sid at the second Crass gig and by about the third I was in Rubella Ballet sitting back stage with Crass waiting to play. When we went to play Stonehenge with CRASS and Flux of Pink Indians, Sid our drummer was also drumming at the same time with Flux of Pink Indians. Flux got on stage and started to play. Sid was battering his drums, suddenly bottles started flying at the stage and Colin got hit he fell down with his head in the bass drum and Sid carried on playing thinking it was his usual weird dancing. We got dragged off stage (I was also on stage dancing) by Andy of Crass who told us ' The Hells Angels are beating everyone up we have to leave". At that moment one of the Hells Angels hears Andy and punches him in the face. All hell brakes loose as the bands all escape in a van and Sid and I stay behind because we have our own tent set up? We managed to survive the night, which was something like a Mad Max on acid film. No police where allowed on the site and all the hippies and Hells Angels openly on home made boards advertised drugs for sale. Some hippies even gave out free acid fudge, ha ha, no police. It was amazing at Stonehenge festival as well as the music and mayhem the Druids gathered around the stones at Dawn for their ceremony that we all joined in. It was a memorable site to see the Druids in their robes arriving at the Stones whilst the flash of the cameras went off illuminating the ceremony in silhouette and full colour flashes, fractals….. Made it out alive What a Tripppppp.


All I can say is wow!!! Amazing you survived the night.. I loved your song "Money Talks" tell us about the story behind the song?

Sid and I lived on 24th floor of a council tower block; Thatcher was in power our world was getting worse, as she destroyed our industries and people lost jobs, The Dockers, miners, printers, factory workers, steel workers etc. she also tore apart unions. We were recording our first vinyl album at Alaska studios, we had written some new songs and I had been thinking about lyrics. On the morning we were due to record the lyrics just came to me and fitted perfectly with the music we had already composed. I always remember how strange it was it was as if the lyrics wrote themselves. I've always been interested in equality issues such as class, gender and race so it was natural I would write lyrics on the subject. As well as writing about the issues and performing the songs, Rubella Ballet also actively campaign and support a diverse amount of issues through playing benefit gigs, interviews and donating band merch. We started to make our own promo videos in 1980's our first was Money Talks. It was put on a new concept (before computers) a video juke box that was placed in all pubs around the country. Because no one else was making videos we were on the juke box with Paul McCartney, Elton John, Bon Jovi and big names like that. All our punk friends around the country spotted it and drove normal people in pubs mad by continually playing our video, it was amazingly funny at the time.





You broke up in the 80's and reformed in 2000 what prompted you to reform?

We never broke up our guitarists just kept changing on a regular basis, mainly due to financial situation we always worked as well as being in a band. A lot of the newer guitarists thought they would make a living from the band but we never made more than pocket money. Sid and I are original 1979 founding members of Rubella Ballet, for us punk is our lifestyle and the band is part of that so we will continue writing music and lyrics and performing whilst there is still demand.





Tell us what the status of Rubella Ballet in 2016?

We are still active but we are DIY we have never had a manager, agent or promoter. We have to find and book our own gigs sometimes its easier than other times. The Damned, through Captain Sensible being a big fan recently added us to two of their great London gigs at The Forum & The Roundhouse. We also produce our own press releases, promotion, art work for records and lyric books. Sid and I love designing and making our own punk clothes. At one time I always made a new dress for each gig. We are always filming and editing our own promo videos. Presently we are making new promo videos to go with tracks from our new album, 'Planet Punk ' a 12 track vinyl album with a lyric book and a 15 track download.


Will you be playing any shows for the 40 year anniversary?

We just played Another Winter Of Discontent with Conflict. So to me every year of punk is a celebration and an excuse for a gig. We are also planning to play next years AWOD as a one year tribute to Vi Subversa vocalist of Poison Girls ,(R.I.P) so it will be a very special night.

Do you have any Internet addresses you would like to share with the readers?

https://rubellaballet.bandcamp.com/merch
https://www.facebook.com/rubellaballet/
https://www.youtube.com/channel/UC83-abEpfgK45f62Jtk0tUw
https://www.facebook.com/shesapunkrockeruk/
https://www.facebook.com/zillah.minx
https://www.facebook.com/SIDATION
https://twitter.com/RubellaBallet
https://twitter.com/Zillahminx



Describe yourself in three words?

Anarcho neon punk

Thank you so much for the interview..... Any last words for Punk Globe readers?

Thank you and Punk Globe readers all for your legendary punk rock support of Rubella Ballet over so many decades. Also after spending over ten years of my own time and money on a DIY project making a documentary against all odds and with no funding I am elated that punks thank me for making the film. The herstory of punk.



Thank you Zillah Minx for sharing her story about you and the accomplishments you have gifted us all with...