The Road To (and From) Claremont

With the opening reception of the Vexing exhibit behind me, I'd like to say a little about the way in which this experience has changed and is continuing to change me. Colin Gunckel and Pilar Tompkins put on a very ambitious exhibition, both in scope and depth. It reached out with long arms to people whose relevance to the East LA music scene was not obvious and thus sparked controversy; it plunged deeply into virginal archives to illustrate the beauty and creativity of an under-appreciated music and art scene.


Points of Departure, an installation by Jessee V. and Colin Gunckel, currently on display at the Claremont Museum of Art.

The road to Claremont was a difficult one for me. On one side of the LA River, I was perceived by some as betraying the Hollywood scene. To quote part of a nasty email: "I think it's kind of creepy that you'd sell out the old scene just to be down with a couple of dink bands." On the other side of the LA River, there was much discussion about who should be included in the show and which participants were perceived as outsiders.


Detail from "Do The Math", a 10' x 50' paint on canvas installation by Diane Gamboa.


To top it all off, there was an undercurrent of denial of the racist and sexist landscape against which punk played out. My statement to the LA Times that by 1979, some Eastside musicians felt that the Hollywood punk scene was closed and unwelcoming was seen as an attack on the integrity of that scene, despite the fact that some of the individuals interviewed in the Women in Punk section of my website mentioned that they themselves had difficulty breaking into the LA punk scene in the late seventies. The fact that Eastsiders were making the same assertion was interpreted as an accusation of racism and I was accused of "playing the race card."

I found this very insulting, so I deliberately set out to get some answers by questioning some of my friends who had frequented the Vex. I wanted to find out who had and who hadn't experienced racism in the LA Punk scene. Not surprisingly, the results were mixed: some people had racism to report while others did not, which only seems to prove that racism was not more concentrated in the punk scene than it was in the general population; neither was it completely absent. Some people felt it and some didn't. Unfortunately, that was a bit of a myth buster for some, who wanted to believe the Hollywood scene was a utopia. Even though I frequently say that I didn't feel discriminated against, my experiences are my own. I will not deny anyone the right to point out discrimination by belittling their experiences with a dismissive phrase like "playing the race card." This response is insulting and only discourages people from shedding light on discrimination. Racism is not a game to be played, nor is there any real victory to be won by bringing it into an argument. If whatever argument you are trying to make is predicated on perceived racial favoritism or discrimination, it's legitimacy will be called into question, so most people I know will avoid bringing race into the discussion at all. Many Latinos I know would rather deal with racism in quieter ways, precisely because they don't want to be accused of playing the race card. And that is how accusing people of playing the race card effectively silences anyone from bringing up issues of racism and supports the status quo.

The fact that the Vexing show ignited this discussion is a great thing. That is what art is supposed to do: challenge people, provoke, and raise uncomfortable questions. A week after the show opened, there is a new article in the LA Times where the question of racism in the LA punk scene is still being explored. This Vexing show has been like a much needed enema, so let's get all the shit out of our systems and see what happens.


Lysa Flores, Alice Bag and Gaby Godhead live at Vexing opening show, 5/17/08, photo by fauxtografer.

Being involved with the show has made me realize that even though I wasn't a regular at the Vex, the East LA scene did not exist in a vacuum. Hollywood's punk scene preceded it and other music scenes preceded that one. Like Tenochtitlan, where each culture is built upon a previous one, each artist, whether or not he or she knows it, builds upon a foundation that stood before them. Thank you to the young artists who helped me understand that. Thank you to the curators, who believed in the validity of my place in East LA punk history before I did. Thank you to my friends, who shared their previously untold experiences of racism with me. Thank you to all of those who continue to challenge me, disagree and/or agree with me; you make the road to and from Claremont a fruitful one.

Cholita and Las Tres

In the aftermath of last Saturday's Vexing performance, a few videos of that night's show appeared on YouTube, one of which I posted in my previous blog entry. But as I was checking YouTube for updates, I came across a couple of rare videos of two of the projects I was involved in during the early 1990's, Cholita and Las Tres.

If you went to the Vexing show, you might have read about some of the various bands I've been involved with over the past 30 years, including Castration Squad, Cambridge Apostles, Stay at Home Bomb and of course, Las Tres and Cholita. I've usually been drawn towards projects that are female based or in some way different and challenging to the status quo. Las Tres and Cholita both fit those criteria.

Cholita was more of a performance art project than a real band and this video for "No Controles" was shot at MacArthur Park (just a few blocks away from where Fertile LaToya Jackson and I were teaching elementary school!) Cholita was more conceptual at this point, and we lip-synced to Flans' hit single. Later, we performed our own version of this song as well as Cholita originals such as Chinga Tu Madre, Beans Are Not Enough and Size (Has Nothing To Do With Performance). The lineup in this video is Vaginal Davis as Graciela, Fertile LaToya Jackson as Guadalupe, Alice Bag as Sad Girl and Annette (I'm drawing a blank on her stage name.)


No Controles video courtesy of Quasi. Thank you Quasi! Now Ms. Davis can't get mad at me for posting this!


The second video is of Las Tres performing the song "Nuevo Amanecer" at what looks like a college campus, probably in the early 1990's, roughly at the same time as I was in Cholita. The two couldn't be more different, but they both challenged societal expectations. The lineup for Las Tres in this video is Angela Vogel, Teresa Covarrubias, me, Paul Perez and Daoud.



Nuevo Amanecer video courtesy of Young American Video, thank you for posting it!

Vexit, Stage Left

The opening reception for the Vexing show at the Claremont Museum of Art took place last night and there was a terrific turnout. Over 600 people were in attendance and the room got really hot, really fast. The gallery show was amazing, with more to look at than I can describe here. If you didn't make it last night, it is well worth a drive out to Claremont to experience it. If you are considering going, you might want to time your visit to coincide with one of their panel discussions or live performances, so check out their website.

A special thank you to my bandmates: Lysa Flores, Gaby Godhead, David Jones and Judy Cocuzza. It was an honor to be included in this show with so many talented artists. Another thank you to all of my old friends who made the long drive to one or both of the shows (we had a warm-up show the night before in Boyle Heights at Eastside Luv). It was great seeing you and even though I can't name you all, I'm sorry about the sweaty hugs and garlic and tequila kisses. Thank you to the Claremont Museum of Art team, who went out of their way to make us feel welcome and fed us garlicky hummus just before the show. And one more very important thank you to Diane Gamboa, who picked me up at the train station, drove me all over town and saved my ass on the air during a live interview at KPFK.

I read through the exhibit catalog today and there are lots of big words in there. It helped me to better understand the history of the East LA scene, though I still have lots of questions. I definitely have a greater appreciation for everything that went into it, came out of it and is still happening in relation to it. Maybe it's not such a bad thing that not all of my questions were answered, because this is a story that's still being written and my curiosity has been piqued.

Here's a clip from last night's performance, courtesy of MikaMakeout. Thank you to MikaMakeout for posting this on YouTube.

Vexing Questions

This coming weekend, the Claremont Museum of Art will be holding an opening reception for a new exhibition called Vexing: Female Voices from East L.A. Punk. I am excited about having been invited to participate in the show because I'll have the honor of being in the company of some very talented artists, but that's not why I'm writing this entry. In the process of promoting this show, doing interviews and talking to people, I have encountered some confusion not only about the show, but about the East L.A. (ELA) punk scene itself and its relationship to the early L.A. punk scene, which I was a part of. I get asked all the time about the ELA punk scene and all I can say is, "Sorry, I wasn't part of that." So it's valid to ask why someone who only played the Vex once (as part of Castration Squad, not the Bags) is a featured artist in this exhibition. And yet, I have had young Chicanas tell me that just by being Latina and doing what I did, I am a part of the ELA punk scene. I understand that, but just as a disclaimer I want to say that I still do not consider myself part of the early 80's Vex scene.

Because of this confusion, I set about on my own to interview several people who were, in fact, part of the ELA scene to get their take on several of the assumptions that have arisen around the Vex and the ELA scene in general. I also spoke with one of the Vexing organizers to try to understand the aim of the show. I myself was interviewed for the LA Times and because that interview has now raised some questions about my own perspective, I feel compelled to explain my quotes. The interview in question ran for almost one and a half hours. From that, a few sentences were culled and used in a piece which condensed a three to four year timeline in the LA music scene into a short article. As I will discuss below, having accurate chronology is critical to any real understanding of the LA punk scene. It's important to note that I spoke at length with the interviewer and told him that my own experience in the early scene (1976-1979) was not one of exclusion or racism, but that other people who were part of the later scene (1980 and beyond) may have encountered racism and closed doors (and let's be honest in saying that there was a growing skinhead contingent in the early 1980's punk scene) and if that perception forced them to create their own scene to overcome this obstacle, then that was a blessing.

According to Colin Gunckel, who is curating the Vexing show along with Pilar Tompkins, the exhibition is meant to show the ELA punk scene as it intersects race, time, gender and location. "I didn't want the show to be based on ethnicity, because it didn't happen in a bubble" says Gunckel. He's right about that. Most of the people whom I've spoken to who were actually part of the ELA scene were going to Hollywood to see punk bands even before the Vex existed.

In order to understand the ELA scene in a broader sense, we have to have some sort of timeline to sharpen our perspective. In the Fall of 1977, The Masque opened its doors in Hollywood as a alternative cabaret. Although it was not the first venue for punks, it became the epicenter of the budding Hollywood scene. It was a place where creativity was nurtured and differences were accepted. Years later, in the Spring of 1980, The Vex would open its doors to a similar group of young artists. Like the Masque, it was not the first place to feature punk talent but it fulfilled a very special role. Like The Masque, it was a place that nurtured its artists and the ELA punk scene coalesced around it.

Here's a quote from an interview I completed in 2007:

"When punk came along, it was just the perfect vehicle for me to express who I was an individual. It was new enough and open enough to allow itself to be defined by people like me. Just a couple of years later, that would change and people would have to fit into preconceived notions of what punk rock was or wasn’t. The early scene had no such limitations because we were the ones creating and defining it. If you had been at the Masque in 1977, you would have seen very eclectic shows, ranging from the Screamers to Arthur J. and the Goldcups, from Geza X and the Mommymen to The Controllers. There was no clearly defined punk sound, no dress code and all you had to do was show up and make your presence known. The movement was one of individuals and individual expression, each of us bringing our heritage and formative experiences with us in an organic and in my case, unplanned way."

What happened between the Fall of 1977 and the Spring of 1980 is perhaps at the heart of some of the confusion about the points of intersection of these two scenes. My band, The Bags, played the Masque in September of 1977. As I have repeatedly written and said in interviews countless times over the years, my own experience of the original Hollywood scene was that it was open, egalitarian, limitless and creative. As the years passed, the scene changed. As the scene expanded, new members brought in new value systems. A scene that had once valued diversity and originality became a place where white males in uniform-like jeans, boots and leather jackets became the norm. It's no surprise to me then, that in late 1979 and early 1980, just months prior to The Vex's opening, some Latinos were feeling unwelcome in the Hollywood scene. Of course, the perception of racism differs, depending on who you ask. We all perceive these things differently and react to them differently. When I asked Tracy Lee of Thee Undertakers if he'd ever experienced any racism in Hollywood, he replied that he hadn't except for someone once throwing a screwdriver at him at The Whisky A Go-Go.

It's also true that not all Eastside bands felt unwelcome or closed off from the Westside, and even if they did, many of them played there before, during and after the existence of the Vex. Teresa Covarrubias recalls that it was very difficult for her band, The Brat, to get shows on the Westside until the Vex opened and they had established a measure of popularity, although as Brendan Mullen points out, "Bookers back then and to the present day are generally concerned with assessing whether the band mean any bodies in their club space.' Ironically, the club which Brendan is most associated with, The Masque, did not follow this commercial policy and thus helped to foster a vibrant and creative scene, perhaps in much the same way the Vex did in East L.A.

When the Vex finally did open, it welcomed bands and artists from all over. It wasn't unusual to see the likes of X, The Blasters and Social Distortion on the east side of the L.A. River. I think that maybe this was one of the intersections Gunckel refers to. I'm sure there were many intersections, but it takes some work to find them. One could easily go back to the Gronk/Dreva Art Meets Punk show in 1978 to find an early example of a Hollywood punk band crossing over to the ELA art audience. The Chicano art collective ASCO pre-dated punk, but could certainly be considered kindred spirits of the early punks. I also know that I am not speaking about the many other artists who were involved in creating poetry as well visual and performance art which coincided and collided with the punk scene. I don't really know how those scenes intersected or if they did, but perhaps this exhibition will help shed some light on those questions.

Perhaps most importantly, the Vexing exhibition will also showcase younger artists alongside the OG punks. The connections between our generations may not be obvious at first glance. It could be that those of us who time travel through our music, art or poetry and defy boundaries touch the younger generation in subtle ways that even we are unaware of, just as so many women before paved the way for us.

Sometimes Desert, Sometimes Sea

San Diego has been keeping me busy these past few months. It’s strange, going from the slow pace of Cave Creek, AZ to a faster city pace. Although San Diego isn’t as big as Los Angeles, the fun stuff is much closer together and you get that urban rush. So much of feeling like you’re part of a city depends on where you live. When I was in LA, I had a different lifestyle depending on which part of town I was living in. In Culver City, it was all about the multiple Trader Joe experience, bike rides on the beach and sitting in traffic. In Mount Washington, it was bohemian, artsy, city views and parties. In East Los, it was all about the thrift stores, the cemetaries and good, greasy Mexican food.

The North Phoenix/Cave Creek experience was a welcome change from LA. I learned to enjoy long walks in the unspoiled desert, I was insulated and isolated and had plenty of time for solitary pursuits. That’s how my crafting obsession started. With no musician friends around to engage in musical endeavors, I started to gravitate towards things I could make by myself, for myself. With music, I always find myself wanting to record and perform for an audience. I found my audience was more Tempe than Cave Creek, but I digress.

Sometimes Desert...North Phoenix/Cave Creek

Here in San Diego, I live right in the heart of the city and there’s always something happening. It took my 2 years in Phoenix to find friends I could relate to. It took me less than 2 months here. Of course, a lot has to do with my being proactive. I started a Meetup group called Destroyers of Mass Production. The group was meant to attract crafters who are committed to reducing their dependence on corporate goods by helping each other sharpen their creative skills to the point where they can construct the things they need. My online group has the same purpose and exchanges crafting, gardening and cooking tips as well as provocative ideas.

Sometimes sea...North Park at night

In San Diego, there’s so much going on that it’s hard to get the Zen feeling of crafting in isolation. There are pros and cons to this. Here, I often I feel like a Model T trying to do 80 on the highway. I’m getting a lot done, meeting lots of people, but I sometimes wonder if I'm leaving parts strewn on the road. I’ve even pushed myself to enter a group collage show at the local bar/gallery. My Destroyers group motivates me and keeps me striving for goals that I sometimes think are slightly beyond my reach. I guess that’s good, but my soul craves the long walks in the desert, the clear skies, beautiful sunsets and the simple joy of nothing to do, no place to be. But I guess the views are not too shabby here.

Switzer Canyon, San Diego...where I walk my dog

This weekend, there’s a big craft fair hosted by the North Park Craft Mafia which I have to go to, there’s the San Diego Indie Music Fair and the South Park Walkabout, all of which are walking distance from my house and all are fun things that I want to do. Some of my new crafty friends will be there and the events are all family friendly, so what’s a girl to do?

Women In L.A. Punk - Part XXV - Connie Clarksville

Some of the women who lived in the Canterbury Apartments in Hollywood back in the late 1970's identified themselves as (or through association, became known as) either Pyranas or Poodles. My roommate Shannon and I both belonged to the Pyranas, a group of young women who tended to be a bit more sexually aggressive and confrontational than the norm. Whatever the Pyranas had in tough, man-eating mystique, the Poodles had in style. The Poodles included Connie Clarksville in their ranks and I believe that Belinda Carlisle of the Go-Go's must have been operating as a double-agent between the Pyranas and Poodles.


The Masque Presents Black Randy and the Metrosquad with Arthur J and the Goldcups at the Whisky. Sheila Edwards, Trudie, Trixie, Connie, Spaz Attack, Alice Bag, Nickey Beat, Exene sitting on KK’s (Screamers) lap. Whisky, March 5, 1978.
Courtesy of Jenny Lens.


I remember Connie Clarksville as one of the first punks to marry the hard-edged punk look with fifties' pin-up glamour. Her rockabilly hairdos and fashion easily set her apart from the crowd. She had a place on the first floor of the Canterbury where, on any given day, she might just as easily be hosting a raucous party as cropping a punk 'do or styling a DA. Compared to the rest of us, Connie seemed to have her shit together. She served food and wine at her parties while the rest of us were sharing half pints of rum and Dr Pepper and a bag of chips. As a fellow Blackette with Black Randy & The Metro Squad, Connie showed us all that she was a multi- talented Glamazon. She danced and sang along with me, Trudie Arguelles, Exene Cervenka, Sheila Edwards and Belinda Carlisle.

Looking at her current pictures, it's hard to say whether she isn't even cooler now than she was in the late 70's. She's still ahead of the curve, still stylish and still looks like she can kick your ass if you don't mind your manners! Click on the thumbnail to read her interview.

Waiting For The Other Shoe To Drop

The “Women On Top” music video that my family and I created for the Hillary Clinton campaign has been getting an increased amount of views on YouTube this week, thanks to one of the bloggers on Daily Kos who liked it. I’m pleased that it is getting people to talk about the historical struggle for women’s rights and to do some research on women like Victoria Woodhull and Wilma Mankiller. The whole purpose of the video was to show Hillary’s bid for the White House in historical context and it seems that purpose was achieved. It’s especially exciting to see the involvement of so many young people in the political process, and I suspect that has much to do with the charisma and appeal of Senator Obama. For that, we can all be grateful.

I find myself much more attuned to this year’s campaign than in previous years. Though I’ve been politically active since I was old enough to vote, I’ve been following the cable news coverage of the campaigns more closely over the past month and I’ve seen a curious trend emerge. Why is it that the major media outlets who have been the virtual lapdogs of the Bush administration and neo-conservative oligarchy for the past 7 years are suddenly throwing their unabashed support to Barack Obama? I’d like to pose this as an open question to anyone reading this, but before I do, I need to provide you with my own historical context.

Back when I was part of the punk scene in the late seventies, I was about as politically naïve as they come. I had grown up believing in the notion of an impartial press. I was convinced that the newspapers and television news shows were unbiased and only presented facts and that it was up to the observer to interpret those facts in order to arrive at informed decisions. It was only as I became involved in activist events and causes that I realized that it wasn’t necessary to lie in order for the press to distort the truth or influence public opinion. They could do it by either focusing on or withholding their attention from an event or subject. I personally witnessed several of these instances of disinformation. I recall one especially large march and rally I attended with thousands of people in the streets of Downtown Los Angeles, protesting US intervention in Central America. We expected we’d be on the evening news and in the L.A. Times but the evening news came and went as did the next day’s paper, without even a mention of the massive rally. It was like the event never happened and those of us who participated were invisible. And that’s when I realized that the job of the mainstream media is not to inform the masses, but rather to help form and manipulate the opinions of the masses. Check out this link to Adbuster's Media Carta if you want to learn more: Media Carta.

As I’ve grown older, I am much more likely to question what the news media is selling on any given day. I already know who it benefits and it’s not the public interest. It’s the same with many crimes; follow the money and you’ll see who’s running the show and whose interests are being served. The appearance of impartiality wears a very flimsy frock these days. It seems that the taste makers are not just content to tell us what to buy, how to look and what to eat, they also have mastered a way to synthesize our values, add some slick packaging and sell them right back to us. Often, these values are sold to us through celebrities who are either held up as the embodiment of our values or as the antithesis of them. The celebrity making media machine cranks out pop stars to sell us everything from clothing to national policy. And that brings me back to my initial question: why is Obama their new darling? Has the media suddenly become liberal? Do they favor him because they want to change the status quo? Would a change in the status quo benefit the media or the owners of the newspapers and TV stations in the United States? Would it benefit their sponsors? Or is there some other reason?

I encourage you to write in, anonymously or otherwise, and I look forward to reading your thoughts on this subject.

Give 'Em Hell, Hillary!

Following the posting of my “Women On Top” campaign video for Hillary Clinton, my husband (who reads the internet and various blogs much more than I) remarked to me that he was shocked at some of the vitriolic and outright sexist comments directed towards Hillary Clinton. “Since when is it acceptable to call a woman a ‘cunt’ just because you disagree with her politics?” he asked. “Doesn’t the fact that the mainstream media can pretty much call Hillary a ‘bitch’ on prime time television belie the notion that we are a post-feminist society?” I guess I’m used to it, because none of this misogyny surprises me, but what really gets to me is that it goes unchecked.

When I wrote “Women On Top” a few years ago, I had in mind that I was trying to reach younger females who hadn’t grown up during the struggle for equal rights, as I did. I realized that there was a whole generation of women who took it for granted that they had the right to vote, the right to control over their own bodies (Roe v. Wade, 1973 – I was born in 1958), the right to work outside of the home and earn as much a male…well, we’re still fighting that one, aren’t we? The point I’m trying to make is that yes, we’ve come a long way, but there is still much further to go. And this year, we’ve seen what happens when a strong, intelligent and brave female dares to challenge the male dominated political hierarchy. In Pakistan, they just assassinate you outright. In the USA, we assassinate your character in the media.

Don’t get me wrong - I expect character assassination from the right; it’s one of their standard operating procedures. So when a McCain supporter refers to Hillary as “the bitch” or Rush Limbaugh calls her the “original Femi-Nazi,” I understand it. Republicans like to play hardball and they have never pretended to be the party of equal rights for women. But when bloggers on the so-called liberal site Daily Kos refer to Hillary Clinton as “Billary” or Obama supporters write in comments on YouTube stating that Hillary Clinton is a “whore” or a “cunt,” or when MSNBC anchor David Shuster states that the Clinton campaign “seems to be pimping out Chelsea” because she has chosen to support her mother’s candidacy by making public appearances (no one dared accuse W of pimping out his daughters when they did the same thing in 2004), I have to speak up. People (many of them claiming to be liberals and progressives) are taking a lot of liberty throwing around words like “cunt,” “bitch,” “whore” and speaking of pimping out one’s daughters, without anyone crying foul. Would we overlook racist, derogatory terms if they were becoming part of the political discussion? I don’t think so, but for some reason, we’ve decided it’s ok to use misogynistic words to describe women and particularly Hillary Clinton. I see this as part of a bigger problem we seem to have with how we define feminism and what images of femininity we are comfortable with.

One of the complaints about Hillary is that she is “too comfortable” in the male dominated arena of national politics (try to frame that as a disadvantage in a male context – bear in mind that Ms. Clinton has been a U.S. Senator for less than 8 years whereas the Republican frontrunner, John McCain has been a national representative for over 25 years – and if you don’t think McCain will play his experience for all its worth against Obama’s lack thereof, you have a hard lesson coming.) I found this commentary by Susan J. Douglas, professor of Communications at the University of Michigan, particularly telling: “Hillary, by contrast, seems to want to be more like a man in her demeanor and politics, makes few concessions to the social demands of femininity, and yet seems to be only a partial feminist. She seems above us, exempting herself from compromises women have to make every day, while, at the same time, leaving some of the basic tenets of feminism in the dust. We are sold out on both counts. In other words, she seems like patriarchy in sheep’s clothing.” By that logic, pioneering female aviator Amelia Earhart would have kept her feet firmly on the ground and early suffragette and abolitionist Lucy Stone would have just shut up and sat down. No truly great women have ever stopped to worry about “making concessions to the social demands of femininity,” let alone the “basic tenets of feminism” which, in my opinion can be boiled down to the maxim that women are the equals of men. By my standards, Hillary Clinton has never betrayed her femininity or feminism.

The Republicans and the Fox News clones have done such a great hatchet job since the whole Bill Clinton/Monica Lewinsky scandal broke that many people now regard the entire Clinton administration as a dark age for our country, when nothing could be further from the truth. Younger voters may not remember that Bill Clinton turned the largest federal debt in history into the largest budget surplus in history during his two terms in office and presided over the longest peace-time period of economic expansion in American history. When he left office, he had the highest voter approval rating for an outgoing President since FDR: 65%. This, despite being impeached by a Republican controlled House of Representatives. So when someone tells you, “eight years of one Clinton was enough,” remember that those were eight relatively great years for this country.

It’s important for me to note that I have no animosity towards Barack Obama, who seems to be a very decent and earnest individual. It’s just that I much prefer Hillary Clinton for a number of reasons, chief of which is that Hillary is a fighter and has been battle tested. She’s hated by the Republicans for a reason - she is not afraid to take them on and fight them in hand to hand combat. If anyone still believes that the neo-conservative stranglehold on this country can be wished away by pretty speeches and a lot of people holding “HOPE” signs, I say it’s time to think again. I for one am absolutely fed up with the Republican party and what they have done to our country, our economy and our rights over the past eight years and I am not in the mood to “unite” with most of them. I am fairly certain that the feeling is mutual, so I don’t buy the unification slogan. I want a President who can kick some ass in D.C. and get things done, the Democratic way. I want Dirty Harriett – no, make that Dirty Hillary!

Give ‘em hell, Hillary!

Hillary Clinton Music Video - Women On Top

In the spirit of home made crafting, my family just created this music video for the Hillary Clinton campaign. I used a demo recording of my old band, Stay At Home Bomb performing a song called "Women On Top," which seemed just perfect for the purpose. I should add the disclaimer that this is my song and it represents my choice for '08. I'm not speaking for anyone else in the band.

There is no limit to what you can do yourself with the right tools and the desire to learn. Hope you enjoy it!

Women On Top - Stay At Home Bomb

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The Future of Food

One of the participatory aspects of the online group that I belong to, Destroyers of Mass Production, is that any member can throw down a challenge to the other members. Some of the past challenges have included sewing blankets for the homeless and surreptitiously posting anti-war messages in public. A current challenge is to grow your own food.


I saw a very disturbing film last night that left me tossing and turning and that seems to relate to this topic if only because it has to do with growing your own food. It's called The Future of Food. It talks about the origins of genetically engineered food and what GMOs (Genetically Modified Organisms) are doing to our food supply. Not only do these foods contain harmful chemicals, bacteria, and antibiotics but because they are corporate hybrids they can be patented. If the wind or a bird drops a seed that has been patented onto a farmer's field and it cross pollinates with that farmer's crops, the resulting strain of corn, for example, may contain the marker gene that is patented. That farmer can then be held liable for violating patent law. Incredible as it sounds, many farmers have been sued for this very reason. Farmers, our food suppliers, are being put in a position where they must buy these genetically engineered patented seeds each time they plant for fear of being sued. This affects us because it reduces the variety and quality of produce that is available to us. Seeds are being patented all the time, so eventually even small organic farmers may be affected.


After a year of being vegetarian, I was feeling pretty happy every time I went to the grocery store and thought about how I wasn't eating meat that had chemicals and antibiotics. I went out of my way to look for cheese and dairy products that contain no rBST and I'm a label reader so my processed foods have to meet certain criteria. But where are the labels on our produce? Why shouldn't we know how our fruits and vegetables are being farmed? If I'm eating genetically modified food I want to know it. If my corn on the cob is classified as a pesticide because any insect that eats it dies, (yes, this is true) I want to know!

Here is a summary of what crops, foods and food ingredients have been genetically modified as of July, 2007:

Currently Commercialized GM Crops in the U.S.:
(Number in parentheses represents the estimated percent that is genetically modified.)

Soy (89%)
Cotton (83%)
Canola (75%)
Corn (61%)
Hawaiian papaya (more than 50%)
Alfalfa, zucchini and yellow squash (small amount)
Tobacco (Quest® brand)

(source: Seedsofdeception.com)

I know I'm ranting like a lunatic, but I'm angry. What kind of world am I leaving to my kids? We are allowing corporate greed to ruin our lives. That's what it all boils down to - this stupid war, global warming, genetically engineered food, it's unchecked corporate greed. So let's plant our gardens and let's press to make corporations accountable not only to their shareholders but to the rest of the world!