Thursday, April 19, 2007

Alice's French Lesson - A Podcast




I am packing for a trip to Paris and I leave tonight. I studied French in high school, but since I didn’t have anyone to speak with, I’ve lost most of what I once knew. So I’ve been honing my French skills the Alice way. I picked up some cool French songs courtesy of some great blogs, (the links to which I’ve included below in case you want to check them out). I downloaded them and then I went online and looked for the “paroles,” which I found out is French for “lyrics.” I plan to listen to them and learn all the lyrics on the plane. I just hope someone asks me something that I can answer with “Les filles c’est fait pour faire l’amour.”

So if you’ve ever wanted to learn French, or just enjoy singing in a language you barely understand, join me in singing along!

Au Revoir,

Alice


Alice Bag’s French Lesson

Right click HERE and "save file as" to download the podcast so you can play it on your ipod!

Or go to www.alicebag.com/alicesfrenchlesson.html to stream the audio.

Les Filles C’est Fait Pour Faire L’amour - Charlotte Leslie
Le Temps De La Rentree - France Gall
Ecoutez - Elsa
Soyons Sages - France Gall
Je T’aime...Moi Non Plus - Serge Gainsbourg
Bubble Gum - Brigitte Bardot
Irresistiblement - Sylvie Vartan
Sous Le Soleil Exactement - Anna Karina
D’etre a Vous - Marie Laforet
Le Mannequin - Annie Philippe
La Ballade de Clerambard - Marie Laforet
Jeu du Telephone - Natacha Snitkine
Ca Plane Pour Moi - Plastic Bertrand

Merci beaucoup to the following music blogs, without which I could not have assembled this podcast:

Spiked Candy

Filles Sourires

Asi Se Fundo Carnaby Street

Monday, April 16, 2007

RAZORCAKE BRATS

I had to share the cover of the latest Razorcake with you all because it features my dear friend Teresa and my pal Rudy from the Brat. Not only that, but the artwork is incredible! I would rush out and buy it just for that cover alone. Awesomeness!!!



It features an interview with the Brat, an interview with Young People With Faces and lots of other fun things. Overall, it just looks like a really good issue so go out and buy one! Send me one too because they don't sell it out here on the outer edge of nowhere.

On another note, I've got a little more info on the May 5th show in Echo Park. The details are still developing but here is what I do know for now. Tickets can be purchased in advance for $10 at this website (click on the text link below to go there) and the venue is all-ages (yey!).

CINCO DE MAYO SHOW On Cinco de Mayo (Saturday, May 5) the Silver Lake Film festival celebrates the rich-history of Chicano rock music in East Los Angeles from Lalo Guerrerro to War to Los Lobos. The evening will feature performances by Dios Malos, Lysa Flores (1997 Independent SPIRIT debut-performance nominee for the film "Star Maps"), Ollin, The Revolts (featuring Jonathan Velasquez, star Larry Clark's "Wassup Rockers"), and culminating with the grand finale of 1970's punk-legend Alice Bag being presented with the MUSIC PIONEER AWARD and her performing a song by The Bags for the first time in decades.

Thursday, April 12, 2007

Otra Vez la Burra al Trigo

If you don't speakey the Spanish you may not know the meaning of the idiom I've chosen for this blog title. It literally translates as "once again the donkey's in the wheat," but what it really means is someone is up to their (usually bad) old habits.

I recently learned of some exciting news. I will be receiving a Spirit of Silver Lake Music Pioneer Award at the Silver Lake Film Festival in May. Here's the blurb from the website:



2007 Silver Lake Film Festival Spirit of Silver Lake Music Pioneer Award - Alice Bag
Saturday, May 5, 2007- Jensen Rec Center Studios. In recognition of her continued challenges to the male-dominated worlds of punk and rock, Silver Lake Film Festival is honored to present Alice with the 2007 Music Pioneer Award.

It's amazing how a simple appeal to my vanity could convince me to go against my better judgement. All they had to do was dangle a shiny "award" in front of me and I just started walking towards it, like a burro towards a carrot. Yes, I will be performing a mini-set with Lysa Flores and some guest musicians. The set will include songs from some of my past bands, including one or two Bags' songs. This is the first time that I'll be doing any Bags' songs in over 20 years because they are giving me an award after all and one does not receive awards every day. My only request was that they move my venue from Spaceland (which is 21 and over) to an all-ages venue. If I'm going to break my own rule about not performing Bags songs, I'd rather do it for an audience who might actually enjoy it than a potentially disinterested audience of older club goers who've seen it all before. Not to say Spacelanders are jaded, but no one ever dances there. Not even Keith Morris.

30 years ago, who would have imagined that John Doe, Keith Morris and Alice Bag would be getting awards for being upstanding citizens and role models? I guess you can add punk rockers to the list of things which get respectable if they last enough, right alongside politicians, ugly buildings and whores.

Tuesday, April 10, 2007

Virgin Sacrificers Miss Their Mark

A comment/question posted on my last blog entry by an anonymous reader caught my attention.


"I like your observation that punk changed the way women felt about themselves because that attitude certainly seems to be prevalent among females of that generation but I am curious to know your feelings about young women today. Do you feel that punk made a lasting impact on how women view themselves and each other and if not, why?"

That's a tough question to answer because I'm not comfortable speaking for a generation of women, especially a generation to which I don't belong. I'd say that punk did have a lasting impact on women, whether or not they're aware of it. The advances each generation makes contribute to the advancement of future generations, each building upon the work of those who came before.

I think that many young girls today are hesitant to label themselves as female musicians or point out that they are in all girl bands and would rather not use the label of feminist because they are not stepping into a situation where they have to prove that they are equal. Somebody who came before them already proved it.

I think it's great that they don't have to prove themselves, however, not being aware of the fact that there still is a need for a feminist attitude can be detrimental because refusing to acknowledge where you've come from makes it difficult to recognize that you haven't yet reached your destination.

I think for the women who became immersed in the punk culture, it was life changing. Today, it's difficult to tell a mall punk from a person who truly believes in self-determination. There's a difference and the broader culture tends to enforce and reward conformity. Young women today are still modern day virgin sacrifices. They are just grist for the consumerist mill and unfortunately that reality has not changed. In fact, it may be even worse because as mass media has become omnipresent, young women are bombarded by messages that tell them they don't look good enough, are not thin enough, need to buy stuff to help them stop stinking, breaking out, etc. The only way they'll get the coveted boyfriend/husband is to buy more stuff.

I should clarify that I am what used to be called a lipstick feminist, meaning that I believe anyone should look and feel their best when they go out into the world and there is no shame in making the most of what you have. But that is not the same thing as an all-consuming obsession with an ideal image that is created by somebody else so that they can make a profit off the insecurity they've fostered in you.

So the short answer is, some things have gotten better, some things have gotten worse. Still plenty of things to write songs about.

Women In L.A. Punk, Part XXII - Gerber, aka Michelle Bell

This interview was conducted over a year ago and I've been dying to post it ever since it was finished. Well, the long wait is over and it was worth it because Gerber has kindly allowed me to share some photos from her own scrapbooks.

All you people who keep asking me to interview Gerber can stop asking. It's finally here.



If you're at all familiar with the Germs, then you know that Gerber (Michelle Bell) was very close to Darby Crash. She went from being a muse to a musican and figured into several bands in L.A.

Gerber's interview appears exactly as she wrote her responses to me. I felt it was important to keep it just as it came to me - with typos and all - because it shows so much of her personality. I asked her if I should correct it or run it as it was and her response was as follows:

"fuck thr typos
thats me Yes
i chopped many a head
but Dennis from Social D
was the funniest
hrthought he ws gonna get laid like i a car
then he ran around all nite holding onto this one lil long peice I couldnt get off
he jssust held it all nite and tols story of woe
like that girl..... blah blah blah ...
they wwerent even a baand then
but he cmae looking for me next week
with a rod stewart spikey kindda cutt
suuper cutt
haaaaaaaaaaaaaaaaa haaaaaaaaaaaaaaaaaaa"

If there was an "It Girl" of the Masque, that would be Gerber. Like a punk Delilah, she claimed hearts as well as manes. Any party with Gerber in attendance was 100% guaranteed not to be dull.



In her interview, Gerber writes that punk "set me free to scream my truth...it needed to be screamed." Her interview answers, like Gerber herself, are all in CAPS. She was funny, feisty, unapologetic and in-your-face. And she still is.

Click on the Women In Punk thumbnail to read her interview:


Thursday, April 05, 2007

What Are They Teaching In School These Days?

I'm immobilized in bed, recuperating from a back injury and dictating this blog entry. Hopefully I will make a full recovery and not have to use a walker when I perform a few songs on May 5 at the Silver Lake Film Festival. That wouldn't be too much fun.

Here's an email interview I just completed. Thanks for allowing me to share this on my blog, Leah, and good luck with your work!

"Dear Alice Bag,

My name is Leah and I am a senior at Brookline High School in Massachusetts. I've been extremely passionate about early L.A. punk for as long as I can remember and have read about, listened to, and watched most of what I have been able to get my hands on. I decided to write my final senior thesis paper about the role of women in the early L.A. punk scene. Unfortunately (and obviously), I was not there. Because of this I have been doing endless reading and research in hope of depicting my opinions with well-supported information.
I have read all of the interviews with Women in L.A. Punk on your website and they have been endlessly helpful. You will be well-cited and I wanted to thank you for taking on the task of making those interviews public. I was also wondering if there is a chance I could convince you to do an email interview with me concerning the topic of my paper...."

I am always happy to answer questions, although it sometimes takes me months to respond. Here are Leah's questions and my answers:

Do you feel early L.A. punk changed the way women were thought of in society?

I think it changed the way women felt about themselves, which eventually changed the way society felt about them.

How do you feel the punk scene allowed you to escape from female gender roles?

I was too busy creating something new to worry about what my role as a female should be.

How did women in early L.A. punk redefine what it meant to be tough?

I don’t know that anyone was trying to be tough. I think they were just trying to be themselves, which requires strength of conviction and the will to act. If that is considered tough, then a woman’s toughness is measured by the same standard as a man’s.

Why do you think women felt so comfortable breaking out of their gender role and really letting loose?
Perhaps because the punk aesthetic didn’t require women to fit into a role. It was something new that had yet to be defined or stereotyped.

How did people think of females fronting early L.A. punk bands back then?

I’m not sure because I personally didn’t care much about how people were perceiving me as a female. Even though I thought of myself as an performer, it wasn’t like I went on stage to entertain. I went on stage to engage the audience. If people were not engaged by my performance, then they could leave. If they stayed and got engaged, that’s what I was after. But I didn’t think about what they thought of me personally.

What did you think of the Plunger Pit? Did you have any note-worthy experiences there?

It looked like a fun place to hang out but my impression was that it could have been overwhelming at times. I’m not sure, but I suspect they might have been around before the Canterbury. I didn’t go there that often. It was fun and chaotic.

In We Got the Neutron Bomb I read about an argument you got into with Darby Crash about the fundamentals of stage performers. You reportedly felt that musicians and audience members should all be on the same level (which I think is amazing by the way), while Darby felt singers should hold an almost God-like position. I read that this argument lead to a physical fight in which you kicked Darby’s ass. What’s the truth behind this and how do you justify your actions?

I didn’t really kick his ass and it wasn’t a very long fight. Darby enjoyed irritating me and he liked to see how far he could push people. He figured out that he couldn’t push me very far. We disagreed about a lot of things on a very fundamental level. Our differences went much deeper than just the proper role of audiences versus performers. But the arguments we had also left us with food for thought and we would both go home after an argument and then come back to the subject later to pick up the thread again.

Early on in the punk scene both Darby and I wanted to be leaders. I think Darby held onto that desire until the end and I reached a point where I wanted to form relationships where there was a give and take. This concept is discussed at length in a book called Pedagogy Of The Oppressed by Paolo Freire. Basically, it states that a leader’s thinking is authenticated only by the authenticity of the followers’ thinking. The leader cannot think for her followers.

I think too many people don’t understand that logical argument can be a healthy thing and arguments don’t always involve threats or conflict. It’s just that on this occasion, Darby pissed me off and I resorted to violence.

In early L.A. punk, it seems as though women started to get comfortable exerting their physical selves. Often this meant fighting each other or males. From what I’ve read, women were physically kicking a lot of ass. Why do you feel they suddenly felt so comfortable fighting?

I’m not sure that this assumption is correct. I can’t say that I saw an extraordinary amount of female violence in the punk scene, but I grew up in East L.A. and I certainly saw a lot more of it at Stevenson Jr. High. I think I was an anomaly because I was violent and I grew up around violence, so it was what I knew. Plus, punk music was aggressive and it may have fueled those emotions a bit more than, say, Donovan and the Beatles.

Monday, March 05, 2007

Cuentos de mis Padres

A comment on my last blog entry got me to thinking about my Mom and Dad.

"Hey there Ms. Bag! This is Harakiri, from Mexico City. That mom & dad pic happily walking in Mexico it's just great; and I 'm so curious, when did you all come to USA? I'm thinking how weird must have been for your family to face the fact of L.A. punk and hijita Alicia messing around!!
Would you tell me a little about this??
-Harakiri."

Dear Harakiri,

Much of what I know about my parent’s lives before I was born comes to me from my mother. She enjoyed regaling me with stories of her childhood and young adulthood. My father was more reticent and so I know only sketchy details about his past. They lived such colorful and rich lives that I felt a lengthy answer was warranted, so these recollections of my mother and father might end up unfolding over several blog entries. Anyway, let me begin by telling you a bit about my Mother.



My mother, Candelaria, who was the third Candelaria born to my Grandmother after the first two died. The third time is the charm.

My mom, Candelaria (also known as Lala to her family or just Candy to her American friends) grew up during the Great Depression. She was born in Torreon, in the State of Coahuila, Mexico, but her family moved to the United States when she was still young. With a large family consisting of eleven brothers and sisters, my grandmother and assorted uncles and aunts, they all worked the fields, picking fruit. I expected my mom to tell me how hard and backbreaking this was, but instead she told me that she was very young and often goofed around on the job, playing with her siblings and picking only a modest amount of fruit. With that kind of work ethic, it’s no wonder that there was little money for anything but essentials.

Candy and her brothers and sisters would sometimes raid the dumpsters behind a big shoe factory in downtown Los Angeles, hoping to find a new pair of shoes. She described searching through mountains of shoes, but they never found a single matching pair. What usually happened was that if they found two of the same style they were for the same foot. If they were really lucky, they might find a pair where one foot was a half size bigger than the other. Those they could wear with a little bit of toilet paper stuffed into the toe box.

Candy learned to sew at an early age. During the Depression, any fabric that could be fashioned into clothing was considered a luxury and being handy with a needle and thread was a source of pride for my mom. My mom sewed clothes from any available cloth, from bed sheets to flour sacks. Her real expertise was the blind hem. She boasted that every morning on the way to school she would tuck a threaded needle into a seam in her skirt. A block away from the school, she would stop and hem the bottom of her skirt or dress to a much shorter length than my grandmother allowed and every afternoon on her way home, she let it back down. She claimed to be able to do a blind hem by hand in 2 or 3 minutes. I can’t do one at all. But I think that story explains why my mom allowed me to have the shortest school uniform at Sacred Heart of Mary High School.

When my mom was fifteen she met her first love and he carted her back to Mexico (where she could be legally married at the age of fifteen) to work with him, running a little store. My mom promptly began having children and was happy running her store until a fire burned it down and her husband was diagnosed with cancer. After his untimely death, my mother was left alone with four small children and no work.

She met a handsome stranger on streetcar who threw a few piropos her way. He was on his way home from work, wearing a sweaty tee-shirt (I imagine Marlon Brando in A Streetcar Named Desire, except with my Dad’s face) and as the story goes, he told my mother, “If I wasn’t so dirty, I’d invite you to a movie” to which my mother replied not with a slap in the face, not with “We‘ve not been properly introduced,” but with “You don’t look dirty to me.” You go, Mom!


My father, Manuel Armendariz, came from Parral, which is in Chihuahua, Mexico.

Before you know it, I was on my way to being born and the family was moving back to the U.S. For my Dad - unlike my mom - was fond of hopping trains to come look for work in the U.S., illegally. He boasted that he was on friendly terms with the Border officers who he claimed to have known by name. They would often bid each other farewell with “See you next week,”(things sure have changed!) Dad eventually became a member of the officially sanctioned bracero (or guest worker) program and everyone started to feel a little bit more American.

My older siblings promptly got married and flew the coop but my half sister Yolanda lived with us. She was my idol. Every night, she and my mom would wrap their fancy hairdos in miles and miles of toilet paper, a strange ritual that mystified me. Then it seemed they had to sleep very still so that in the morning they could add another layer of Aquanet to stick it back together. It was so Memoirs of a Geisha, except from the 'hood.

Just as strange was the initial setting of the hair, which involved soaking the strands of hair in a concoction of Lucky Lager beer mixed with Dippity Do and then rolling it onto the rollers. I remember my mom and sister going through this ritual during a time when they were studying for their American citizenship exams. They claimed to know more about American history than the people who were born here, which is probably true of most immigrants studying to pass the citizenship exams. And like most immigrants, once they became legal citizens the color of their blood changed from red to red, white and blue.



My sister Yolanda looking glamorous, me wearing a raincoat and matching umbrella I wish I still had and my Mom, looking effortlessly beautiful. I know what you're thinking..."cool hairdo, Alice!"

Only my Dad held steadfast to his Mexican nationality. He refused to take the citizenship exams. He reminded me that I was not only American, I was a special kind of American - a Mexican American (Ohhh... Ahhh...). He ridiculed the pochos who didn’t know their mother tongue and decreed Spanish as the official language of our home. He resisted the notion of assimilation but learned to swim in the new cultural waters of the U.S.

As for what he thought of his daughter being in a crazy punk rock band, I can tell you that he and my mom went to see me perform with the Bags at Madame Wong's. I had no idea that they were going to show up that night. My mother later told me that my father was standing on top of a chair, enthusiastically cheering me on. I am also certain that this was the night a riot broke out at Madame Wong's because our audience got so unruly. Afterwards, my Dad said to me, "I don't know what you were singing about, but I loved the way you were doing it."

Sunday, February 18, 2007

Weird Fashion Sense Runs In The Family

My husband and I were cleaning out the garage this weekend and came across more boxes of old photos that were just stored in no particular order. One box had photos from 1950 to the recent past all lumped in together. In sorting through them, I first noticed the cool jacket and dress my Mom was wearing in this 1950's photo of her and my Dad in Mexico.



Then I found this photo of me wearing a blonde wig and another cool dress from when I was probably about 10-12 years old and going through my "phat and sassy" phase.



Next, I found this photo of myself in 1977, modeling my hand painted Weirdo's mini-skirt. Yes, those are paint smears from the skirt on my arms and face.



And last, I found this photo of my daughter, Snow, modeling her Betty Blowtorch tee and striking her rock star pose.



I think this is pretty conclusive evidence that weird fashion sense is somehow genetically pre-determined.

Wednesday, February 07, 2007

More Questions About Sex and Punk

Requests for interviews seem to come in waves. Here's an excerpt from another one I just completed. The interviewer's questions are in boldface type.

1. What did you feel the attitude toward women in general and you in particular was in the punk scene during your involvement?

In general, women in society were and still are discriminated against in all kinds of insidious and subtle ways. If you’re asking me what people thought of women in punk bands, I’d have to say that I didn’t and still don’t know what the attitude was. I never bothered to stop and ponder that question because I didn’t care. I wasn’t looking for external validation. I had been brought up to believe that I could do or be anything I wanted and the punk scene provided a setting where I could do just that. So there were no limits for me.

2. One of the things women have always had to deal with (in rock) is the sex/attraction factor of being a woman in a band... Punk women have taken a whole variety of different approaches to the sexuality factor – some openly scorning it, some embracing it, some playing with it in a mocking way (the shredded fishnet sort of thing). What was your attitude toward it?

Both men and women in bands are often seen as sex symbols. I suppose some people cultivate that image and as you say, others reject it. I wore many a shredded fishnet in my day, but I was a 17 year old girl in a band and I felt tremendously sexy and powerful. I was not about to suppress or tone down my sexuality. I have always broken with traditional feminism on this subject. If I was ever compelled to burn my bra, I might replace it with a corset. I could never embrace a brand of feminism that tries to make a woman deny part of who she is. So when I say I’m a feminist these days, it’s because I’ve claimed the word and created a definition of feminism that suits me - not because I’ve decided to conform.



I have not always considered myself a feminist. In the early punk scene, most of us rejected any labels. I liked to think that I was Alice, a human being free to be sexy or not, free to act aggressive or sweet without even considering what gender roles might dictate. The very early punk scene operated almost completely outside of mainstream society so we felt no need to rebel against or conform to expectations. I would never censor myself. Maybe that was naive and idealistic.

3. How much awareness do you have of later generations of punk women?

I still listen to new music but I haven’t closely followed the evolution of punk. If I know that there are women in a band, I will usually go out of my way to catch a show, buy a CD or be supportive in some way. Some of my younger female friends would make me tapes and CDs of their favorite bands, and that’s probably how I first heard Bikini Kill, Cub, Le Tigre and The Gossip. I still find new bands that I like on MySpace and via CDs that friends send to me but I don’t go out to see shows as often I used to, so it’s hard to keep up.

I guess the answer to your question is that I don’t think of women playing what sounds like punk (or punk inspired) to me as “later generations” because it is all one continuum and I either like what a musician is doing or I don’t. The only thing I’ve noted before is that female musicians seem to be much more comfortable onstage and are more willing to challenge audience expectations than the females I grew up seeing twenty or thirty years ago. Take, for example PJ Harvey and Amanda Palmer of the Dresden Dolls. They have fun with their sexuality but it’s not central to what they do as artists.


Amanda Palmer of Dresden Dolls.

4. Why do you think it was that women seemed to mix so much more naturally in the early scene but all-women bands seemed to be treated as novelties and tagged with media labels like foxcore and riot grrrl (albeit, their own label) later on?

Treating all-woman bands as a novelty is a way to trivialize their contributions. Let’s talk about the Go-Gos. I think the Go-Gos are a really important band. They are the first all-woman band to compose and play their own songs and sell millions of records. Sure, there were a few other all-female bands before the Go-Gos, but those girls really took it to the next level. They were trivialized because they were young, cute and female as opposed to young, cute and male which is the gold standard. They were talented, hardworking trailblazers. So what if they were writing mostly love songs instead of wrestling with their dark demons. Do we put such demands on our male pop stars? I don’t think so! Those girls opened doors and inspired countless young girls.



In the early punk scene, most of us rejected any labels. In a series of interviews I’ve conducted with women in the Los Angeles punk scene, one of the questions I ask is “What was the role of women in the early punk scene?” and a recurring answer is that the women involved were too busy creating and doing, being active participants, to think about what their role as a woman should or could be. They just didn’t even stop to think about it. So, gender roles ceased to exist for us. We didn’t think of ourselves as boys and girls, each of us thought of ourselves and treated each other as individuals.

I’m much more willing to accept and embrace the Feminist and Chicana labels now because I know we’re not all on the same page and allowing myself to be categorized this way helps people who don’t know me to have a clue of where I’m coming from. After all, we define the universe by labeling and classifying its contents. I accept that some labels are handy for giving people a general idea of what something may be about, but we have to be careful not to be overly simplistic. Guidelines can turn into stereotypes and trying to get to know someone as an individual when you have preconceived notions about what he/she stands for can sometimes get in the way.

Monday, February 05, 2007

Interview Questions and FAQ's

I frequently get mail from readers of this blog - students, researchers and other interested parties - who ask me questions about the early L.A. punk scene. Although I know I have answered some of these questions elsewhere, I can’t always remember where and inevitably end up having to repeat myself. I thought it might be interesting to take some of the most Frequently Asked Questions and answer them here on my blog and so, without further ado - Me Interviewed by You.

FAQs for Alice

Why don’t you interview ____________ for your women in punk series?

I am interested in interviewing women who were active in the L.A. punk scene between 1977-1980. I don’t always have current email info and I don’t use the telephone but I try to follow up on leads. Many of the obvious choices have been given interviews but haven’t finished them or they have finished the interview but want to add pictures, or they want to change something or are in the middle of something else...

How can I get in touch with________________________?

Although I love to help old friends connect as well as introduce journalists, researchers and punk enthusiasts to new friends, I don’t have the time to go back and forth with messages. I never give out contact info without getting an O.K. from the person who is being sought. I hope to eventually compile an email address book where people who don't mind being contacted can be located but I haven’t had time to do it yet. The L.A. punk rock directory is on my to-do list. I'd venture a guess that many of the surviving Masque regulars are on MySpace and can be located by doing a little digging. A good place to start is on the MySpace Masque page.

Will The Bags ever do a reunion?

Never. Half the members are dead, one lives in England and we’re not on speaking terms and the other remaining member is busy working on his first book.



With so few recordings that The Bags made, what was your contribution to today’s music scene? Do you feel that you influenced any of today’s artists?

Although The Bags made very few studio recordings, the Dangerhouse recordings are a good example of what the band was like. The movie The Decline of Western Civilization depicts the band near its final break-up. It’s an accurate representation of some of the changes the band had gone through in personnel and in musical direction. It also captures the changes that were taking place in the L.A. punk scene as it moved from a young experimental phase into a more hardcore phase.

Ultimately, I think that the things that turned out to be most important and influential to others are not the things I thought were important at the time. I wanted to be appreciated as a singer, but I’d get all caught up in the moment and lose myself onstage. I was better known for high energy, aggressive, confrontational performances rather than my ability to stay on key. Some of those angry performances inspired other artists who also needed a different way to express their rage.



I also now know that being a Latina from East L.A. and fronting a punk band meant more to others at the time than it did to me. Both of those aspects (being an angry female and being from East L.A.) are things that people who got to see the band perform live could immediately relate to and which were never captured on sound or video recordings. Perhaps it’s for the best. So much of what artists do is significant because of when it is done and what is happening in the world at the time. I realize now that I could never in a million years be the type of singer who could deliver a controlled performance. My performances were chaotic, aggressive and therapeutic. In the many years since my days in the L.A. punk scene, I’ve had the opportunity to talk to many young people and I’m convinced that being Latina and being a woman with a proto-hardcore attitude are the two things that left the biggest impression on others.

Why was Disco’s Dead not originally credited to the Bags?



Disco’s Dead was not written by anyone in the band. We were approached by an outside source and asked to record the song for a flat fee. I believe the song was used as a demo for the composer but it ended up on an obscure compilation under the name "S.G.A.B. from the Planet Zed." I have to confess that I was not a disco hater. The glitter scene which I was into before I got into punk had an active alternative disco scene. I never hated disco. In the late 70’s I just preferred punk.

What happened between you and Patricia?

This question is usually attached to the reunion question. I could probably write many pages about what happened between us. I thought the hard feelings about the break-up were all behind us, but I discovered through a recent interview that Patricia is still quite resentful at being kicked out of the band 30 years ago. I have a long response to this question, but I found in reading it back that it doesn’t make me feel any better to tell my side of the story and include nasty details. The long and short of it is that Patricia and I were close friends at one time and that is why we formed a band together. The reasons for the collapse of our friendship are numerous. Patricia has implied in interviews that I was jealous of her good looks. On the contrary, I think her striking looks were an asset. I have always been proud to have beautiful friends. When our friendship ended, our reasons for wanting to be in a band together disappeared. Although I would welcome reconciliation, I don’t really believe either of us will ever see the past in the same way and with the past unresolved, there is little hope of any renewed friendship. It is easier for me to put it all behind me because I’m not the one who got kicked out. I do have many fond memories of our adventures in high school and during the early band days and I’d like to hang onto those memories instead of focusing on what went wrong.



Who was in The Piranhas? Was Belinda really your girlfriend?

The Piranhas were started by me, Shannon Wilhelm and Sheila Edwards. We were bored one night and decided to dress up in wigs and fake blood-splattered clothes and take a walk on Hollywood Blvd., scaring tourists and causing trouble. Just good, clean fun.


Margot Olavarria (Go-Go's), Shannon Wilhelm and Sheila Edwards (Piranhas).


The lesbian part of the story has been greatly exaggerated. The women in the Piranhas were all good friends. Some of us were bisexual, some were just curious. There was no real stigma associated with being lesbians; in fact, I think we were thought of as a little edgier than our counterparts, the Poodles, who were more focused on being fashionable and attractive to men. We let the rumors run rampant because we enjoyed our bad girl reputations. As for Belinda and me, we were very close and cuddly, and we went through a brief period when we told people we were girlfriends. This had more to do with being there for each other during difficult times and filling in as a date when a guy had to be dumped. As for the rest of the details, I’ll never tell.

Was there much competition/rivalry in the early punk scene?

People in the early L.A. punk scene were pretty supportive of each other. I think we were each other’s first fans. Occasionally, squabbles would arise over petty things like billing or playing order, but for the most part there was a strange sense that seniority was important. It made sense to us that if you started a band because you’d seen an earlier band play, then naturally you’d want to open for them. That held true most of the time, but not always.

What’s happening with the skate deck?



The skateboard deck is being put out by a skateboard company. I don’t have any control over when it will be on sale. I love the artwork which was done by Zeroxed.

What’s happening with the Artifix release?

Artifix has been very good with keeping me in the loop about what they are planning with the Bags compilation CD. I understand that there will be some reissued studio tracks and some live material. The delay has been in getting authorization from all the proper sources.