Detta är en undersökning med syftet att ta reda på hur kvinnliga hårdrocksmusikers situation i hårdrocksbranschen ser ut. Hur framställs kvinnliga hårdrocksmusiker i hårdrockstidningar och hur upplever kvinnliga hårdrocksmusiker mediabevakningen av sig själva och andra kvinnliga musiker i musikbranschen?Jag har samlat information till min undersökning genom studier av hårdrockstidningar på internet, litteraturstudier och intervjuer. Detta har jag sedan kopplat ihop med en feministisk teori från 1970-talet som handlar om hur samhället styrs av manliga värderingar och principer. Både min undersökning och den tidigare forskning jag redovisat kommer fram till att kvinnliga hårdrocksmusiker uppmärksammas väldigt lite i musiktidningar, och när de väl framställs så är det ofta stort fokus på deras könstillhörighet och utseende istället för musiken. I intervjuer med kvinnliga hårdrocksmusiker/band används ofta ordet tjejband vilket gör att kvinnliga hårdrocksmusiker hamnar i en homogen grupp och inte kan mäta sig med manliga musiker.

This thesis sets out to examine how feminist struggle can be negotiated, defined and motivated. By using Oral history as a theoretical and methodological framework, three persons narrative are being constructed, explored and discussed throughout the thesis. All the interviewees define themselves as women and feminists and have all practised music in different separatist rock and pop-groups from 1970 to present. Themes as music as political action, and separatism for persons who define themselves as women are discussed. The tree informants agree about some feministic goals such as equality and the right to be able to play and perform music regardless of gender identity, although the means to reach these goals are formulated differently.

The purpose of this essey is to investigate whether and if so how women's separatist music rooms can create an extended acting space for female musicians. To do this, I have conducted an interview study of organizers and former music participants at the organizations Popkollo and Femtastic. The analytical discussions is held with the theoretical approach of Judith Butler's "heterosexual matrix" and Cecilia Björck's interpretation of Michel Foucault's "The gender disciplinary gaze". The results show that the main reason to choose women's separatist music room has been a longing to ”take place” and to ”get to the be yourself". Furthermore, the results show that the room enabled a liberation from outsiders ideal images of the "mild" and "fragile" female musician, whereupon more expressive positions was made possible. The study also reveald a dilemma in a balance to be liberated, but at the same time adapt to popular music gender-coded ideals. Furthermore the results show that in this context it is sometimes perceived as disfavouring to be coded as both a female artist and a feminist. This is because of the tendency to be seen and treated as a homogenous group with a common political agenda. Finally, I note, however, that women's separatist music room at least can create possibilities for an extended acting space as the informants has expressed a development both personally and musically.