The 'B' Girls

Lore & Background

The 'B' Girls formed in 1977 after Cynthia and Lucasta met at the after-party of a Thin Lizzy concert. Both had been watching men start bands and noted most couldn't play. Lucasta was already a singer; Cynthia played piano and translated that to bass. They recruited Cynthia's sister Rhonda Ross as drummer and Lucasta's friends Renee Schilhab and Xenia Holiday on guitar. The band name was suggested by John Catto of the Diodes, who also designed their logo. They set rules: no politics, no short skirts or shorts on stage, and no cleavage. Cynthia believes their refusal to be sex objects prevented a record deal.

Using gear borrowed from the Diodes, they practiced in a Thornhill basement, honing a sound like The Ronettes or The Crystals. Their sound was closer to 1960s Mersey Beat than loud, fast punk, reflected in their go-go boots, tight leggings, and matching sweaters. They debuted opening for The Viletones at Club David's, playing six songs twice in different order. As Sam Sutherland wrote in Perfect Youth, their lack of technical ability gave them a punk edge, combined with Lucasta's trained singing voice.

In 1979, Greg Shaw of Bomp! Records signed them to release singles 'Fun At The Beach' and 'B-Side', produced by Bob Segarini. By 1980, they were booked monthly at CBGB. Cynthia became engaged to Dead Boys singer Stiv Bators, and the band moved to New York. They opened for many acts including Elvis Costello, The Heartbreakers, and Joan Jett. They never toured outside Toronto-New York except one trip to Los Angeles. I.R.S. Records and Phil Spector showed interest but no deal materialized. The band returned to Toronto and broke up in 1982.

Reader's Guide

The 'B' Girls occupy a unique place in punk history as one of the earliest all-female punk bands in North America, second only to Toronto's The Curse. Their deliberate rejection of sexualized stage presentation—no short skirts, no cleavage—set them apart in an era when punk often embraced shock value. Their sound, rooted in 1960s pop rather than aggressive punk, challenged genre expectations and earned them a substantial fan base. Despite never securing a major record deal, they played iconic venues like CBGB and Max's Kansas City, opened for major acts, and recorded with notable producers. Their legacy was revived with the 1997 compilation Who Says Girls Can't Rock and the 2017 release of all demos as Bad Not Evil, which also prompted a brief reformation. The band's story illustrates the challenges faced by women in punk who refused to conform to industry expectations, and their influence persists in discussions of gender and punk.

Did You Know?

• The band name 'B-Girls' referred to women who, after World War II, got a take from bartenders after getting men to buy them drinks.
• Cynthia Ross painted all the band's T-shirts, and the band made its own buttons and fliers.
• The band's first performance was opening for The Viletones at Club David's, playing six songs twice in a different order.