I had been rehearsing for my upcoming shows in California when I decided to take a little break from my planned set and Moonage Daydream popped into my head, so I decided to record it for you. Here is the little story about how I got to audition for Kim Fowley from my book, Violence Girl. It goes with the song at the bottom of this post.
“I got your number from Rodney Bingenheimer,” the man on the phone began, my ears perking up immediately upon hearing Rodney’s name. “We are holding auditions for an all-girl group, and Rodney told me about your group.”
Yes! Oh Rodney, you wonderful man, you remembered me!
The man was still talking. There was something irritating about his voice; he was not as pleasant or warm as Rodney. I met his gruffness with my own. “Excuse me,” I interrupted. “Who are you?”
“My name is Kim Fowley, I’m a record producer.” I knew who he was. We hadn’t been listening to that Runaways record without doing a little research on them. Fowley was credited with not only helping to assemble the band and co-write the songs but with being a strong force in shaping and promoting
them. He started listing his accomplishments, and I assured him I knew who he was.
“So are you looking for an all-girl band?” I asked, getting a little nervous now that I knew who was on the other side of the phone.
“Not exactly... I’m looking to assemble an all-girl band, similar to the Runaways, and I want to invite you and your band members to the audition.” That didn’t sound as good as I’d hoped, because all of us would have to audition separately. “Rodney tells me you’re a singer,” he continued.
“Can you sing something for me now?”
Now? Damn it, I had just woken up and I was caught off guard. “What do you want me to sing?”
“Sing whatever you want,” Kim told me. I drew a blank. Which songs did I know the words to?
“I’m an alligator…” the song came out of my mouth before I had a chance to weigh my options. I sang halfway through David Bowie’s “Moonage Daydream” before Kim stopped me.
“That’s fine,” he said. “Come on down to the auditions so that I can see what you look like, and bring the other girls."
Wednesday, October 17, 2012
NAmag: How did you get started in music?
Alicia Velasquez: Music has been a part of my life for as long as I can remember. My father's Mexican rancheras and my sister's soul music were the soundtrack of my childhood. In school, the music teacher Miss Yonkers noticed that I could sing and singled me out when she needed help. She assigned a portion of the class to follow me when teaching two-part harmony or when we sang in rounds. I was still in elementary school when I got my first job singing for bilingual cartoons, so I thought of myself as a singer from a very early age.
NAmag: Like probably a lot of people, I was introduced to your music when I saw The Decline of Western Civilization in the early 80s. Your music really stood out against the other bands in the film, being very iconoclastic and hard to pin down, at least for me, being a teenager growing up in Billings, Montana. What were your musical goals at the time? Do you have any specific memories regarding the film? I understand there are full-set recordings from the shoot-- is anyone trying to find/release them?
AV: The Bags' performance in The Decline of Western Civilization documents a time when the band itself was in decline. We were pulling in different directions and had just had a major falling out with founding member Patricia Morrison. It's no wonder that you have a hard time figuring out what we were going after, I think we were having the same issue. By the time the film was released, the band itself had broken up. I couldn't watch the Decline for many years because I didn't think it had captured the band at its best, but I'm over that now. I think despite the band's struggle, you can still see some of its good qualities and the film had a tremendously positive effect on many people. I ran into Penelope Spheeris a few years ago and she mentioned releasing a Decline DVD, possibly with additional footage but I haven't seen it.
NAmag: We are running a Bags performance from 1978 that is pretty fiery and aggressive-- do you remember this show specifically or why it was video taped? What was the general reaction to the band live? Were you supported in LA?
AV: This particular show is at The Troubadour in West Hollywood. It was the first time that the Troubadour, a club accustomed to hosting “soft rock” opened its doors to punk. Aside from that, the thing that sets this show apart is that it’s part of a bigger story which has come to be known as the “Trashing of the Troubadour.” It was during this show that my boyfriend (and our drummer at the time) got into a fight with the singer Tom Waits, who was in the audience. It’s a long story. The mayhem resulted in punk being banned from the Troubadour for a couple of years. It was a rough show but certainly not the rowdiest crowd or performance for the Bags. We had a reputation for wild shows and between us and the Germs, we probably had the most out of control audiences of the early punk scene. This particular show was videotaped for a student documentary about the LA punk scene. Clips from it surface from time to time but as far as I know, it has never been officially released.
I don't know if this answers your question. The Bags were very popular in L.A. We could play a club twice in one night and sell it out both times but aside from that we were all part of a growing yet intimate punk community. We all went to each other's shows and supported each other.
NAmag: Seeing as this is part of our "Women in Punk" week, what do you think the legacy of female artists from the first wave of punk is in 2011?
AV: You're having Women in Punk week? I think you need 52 of those!
The legacy of punk is not determined by gender. Any legacy that punk has left behind is as much due to women's contributions as it is to men's. The DIY ethic, the challenge to the status quo, the confidence to pick up an instrument, a paintbrush, a camera or any other tool that you have not been trained to use and to discover your power for yourself without feeling intimidated are all part of having a punk attitude. I see punk attitude in the women of Saudi Arabia who recently got in the driver’s seat of their cars to challenge that country’s restriction on women driving. I see the legacy of punk in hacker groups like Anonymous who target corrupt governments and corporations. The legacy of punk is not in its musical style, it’s having the audacity to actively participate in shaping our world.
NAmag: Indeed. The music industry has changed significantly in recent years, especially in terms of distribution-- do you see any emerging opportunities women should take advantage of? Do you think it is easier for young women to get started in music today?
AV: Yes, I do think it's easier in some ways but more difficult in others. It seems that anyone can produce a recording and sell it on the Internet but I think it's difficult to build an audience without first creating a community. A community is a powerful support system. Without it, an individual artist can get lost in a sea of talented individuals.
Excerpts from a 2011 interview, full interview published here: http://networkawesome.com/mag/article/an-interview-with-alice-bag/