ROCKRGRL
Seattle, WA. November 2-5, 2000
If any of you are lamenting the current state of women and rock'n'roll, then listen up, 'cause, in the words of Neil Young, "This note's for you!"
It's easy to be depressed about what we hear on mainstream radio these days. Britney Spears? Christina Aguilera? Celine Dion? Please...these women do not rock. While Courtney Love (the ultimate rockrgrl--more about her later), may argue that Britney Spears' songs are incredibly textured and well-constructed (and, indeed, I wouldn't argue with that), where is the kick-ass attitude? the open rebellion? the "fuck-you"? the loud guitars? We're certainly not hearing this on mainstream radio, which is unfortunate. One panelist at Rockrgrl, the manager of a Seattle-based radio station, actually told a crammed room of grrls that "well, there just aren't many hard-rocking female bands out there like Kittie." The reaction from the room? "Sssssssssssssss!!!" About a hundred rockrgrls were ready to kick her ass. This woman didn't make it out of the room with her dignity intact, that's for damn sure!
But, I'm getting ahead of myself here. I attended the first ROCKRGRL Music Conference (RMC) in Seattle, Washington. This music conference is sponsored by ROCKRGRL, the magazine that promises readers: "no beauty tips or guilt trips." The mission of ROCKRGRL (edited by Carla DeSantis) is to promote women and our pursuits of all things musical. In Rockrgrl, for example, you can find such things as columns about gear (advice on what to purchase, what's available, how to fix your sound system, etc.), thought-provoking columns about politics and music, advice on recording and distributing your cds, as well as interesting interviews and cover stories about women in music.
Sessions during the day; keynote addresses and session panels that included Ronnie Spector, Ann Wilson, Amy Ray, and an unannounced appearance by Courtney Love; grrls and grrl bands playing in Seattle clubs each night...what an event! Here's a run-down of just a few of some the events I attended throughout the conference.
"Oooooo...barracuda!"
The conference gets underway with a banquet honoring Ann and Nancy Wilson, the founding members of Heart and the winners of the first ROCKRGRL Women of Valor Award. I am pretty excited to finally see, live and in- person, one of the first women I ever saw pick up and play an electric guitar: Nancy Wilson. As I take my seat in the banquet hall along with the other rockrgrls, Ann Wilson arrives in all her wonderful glory. Beautiful and gracious, even seeming a bit shy, Ann gracefully takes her place at the table in front, camera flashbulbs clicking! Unfortunately, Nancy isn't here, but long-time songwriting partner Sue Ennis introduces her friend and collaborator.
Truly touched, and very gracious, Ann accepts the award and reads a letter from Nancy. Reminiscing a bit about some of the difficulties of being women and starting a rock'n'roll band, dealing with (clearly less-talented) men who attempt to control Heart, Ann appears truly touched by the honor.
Having met several people at the conference already, the only question now is: where do I go tonight? There seem to be at least four bands I'd like to see at one time! Having just met guitarist, singer, songwriter, and kick-ass rockrgrl Nancy Luca at dinner, I decide to head over to Gibson's (where Nancy will be later) to check out the scene.
Teddy boys and motorscooters: Christine Darling's All-Gurl Review.
I'm hanging out at Gibson's with the bar's regulars, as the first act of the evening, Christine Darling's All-Gurl Review, takes the stage. As it turns out, Christine Darling's All-Gurl Review is a one-gurl show...just the darling Christine and her Rickenbacker guitar. Christine is a soft-voiced, earnest singer and jangly guitar player. She also has an ascerbic wit, as she chatters about the conference and how pleased she is to be in Seattle. The small-in-stature Christine easily handles an obnoxious guy in the sparse audience, who seems to be on another planet entirely...clearly wasted, this guy punctuates the rather quiet performance with random, indecipherable rants. Christine handles this guy pretty easily, though...."Uh, yeah...you're a real winner." She doesn't miss a beat, singing about teddy boys in Portland, talking about how she hopes to meet Pamela desBarres--one of her idols who is on a ROCKRGRL panel tomorrow--and delivering an understated, yet powerful, rendition of David Bowie's "Rebel, Rebel."
Nancy Luca and her guitar.
Just before the end of the All-Gurl Review's set, Nancy and her manager, Marney Hansen, walk into Gibson's. We say "hi" to each other, and Nancy invites me to come over and sit with her and the band.. Nancy kindly introduces me to her band, who, as it turns out, are playing their first gig together tonight. I later find out that Nancy and the group have rehearsed over the phone: Nancy in Santa Monica, and the guys in the band in Seattle. Long distance rehearsals...pretty impressive.
As Nancy and the band get set up, I notice a white Les Paul guitar on the stage. Even though I've never heard Nancy's music before, I'm immediately impressed. My first thought is, simply, "Wow. A beautiful woman and a beautiful guitar." As the band breaks into their first song of the evening, Nancy wraps a black boa around her neck, picks up the Les Paul, and begins to play. Wow.
Nancy mixes up rock 'n' roll with some dirty blues, infusing it with some aggressive guitar solos that will make you wanna get up and dance as soon as you hear her music. With song titles like "Don't Piss Down My Back (and Tell Me It's Raining)," "Too Much Yang," and "Ripped To The Tits" (all of which you can hear on Nancy Luca, on Gatorville Records), she belts out some hard-hitting songs that betray sometimes conflicted and overpowering emotions: playing her guts out every night for an audience; revisiting relationships where sexuality, sensuality, and friendship intertwine; and exploring the effects of unchecked aggression. She also writes songs that represent a softer, pop-y side, too, thus proving her depth as a songwriter. And, her guitar playing, without a doubt, is some of the best I've ever heard: hot licks and blistering solos. She has a great rapport with the audience, as well as the band. Joking and flirting with audience members ("Hey, honey," she says to another Gibson's regular, clearly making his evening!), her charisma easily fills the bar and spills out onto the street, as people walking by stop for a moment in front of the large window by the stage to see what all the excitement is about.
Visit Nancy Luca's Web site, to view videos, listen to some of her songs, and check out the Nancy Luca Band's tour schedule. Trust me...you won't be disappointed. This grrl can rock, and she is hot, hot, hot.
"Excuse me, mister / pardon me, sir / hey, there, asshole!": Vessels of Sin arrive in Seattle.
"We're Vessels of Sin from Birmingham, Alabama, and this is our first time in Seattle! Ya'll got some great coffee here," says lead vocalist, Stacey Norwood. Having never heard Vessels of Sin before, I have no idea what I'm in for. However, by the second song, I'm hooked, and Vessels of Sin turn out to be one of the biggest RMC surprises (at least for me--as soon as Vessels break into their first song, Nancy's band make a swift exit. Vessels of Sin are too rough around the edges and too tough on the ears, I guess, for some. Marney and Nancy stick around, though).
Somewhere in the rock'n'roll continuum between the white-trash kitsch of Nashville Pussy and the whacked-out punk of the Germs, you'll find Vessels of Sin: Stacey on lead vocals, Jennifer Shirley on bass, Jeff York on guitar, and Bridget Ros on drums. Stacey oozes the loud-mouthed raunchiness of Shelley Winters, whom she confesses to idolize, and she belts out a song at the top of her lungs, clutching a microphone in one hand and balancing a drink (whiskey and Coke?) in the other. The other Vessels have a lot of charisma, too: Jennifer in her hip boots and ripped fishnet stockings, plucking away on a glitter-sparkle bass; Jeff with his ZZ Top beard, Rob Zombie cowboy hat, shades, and killer guitar riffs (this guy smokes on the guitar); and Bridget with the well-toned body of a hard-working drummer, pounding away on the skins. You really have to see this band live to truly appreciate them, for part of their appeal lies in their kick-ass live performance and their collective campy swagger.
Throughout their set, audience members make sure that Stacey is never left holding an empty glass. The first drink of the evening is sent courtesy of the guy closest to the stage--the same guy who'd been flirting with Nancy earlier. Now, inspired by more beers, the great music, and Stacey's twisted (and wonderful) charm, this guy gets up to dance. Later in the set, the band persuades another guy to dance to "Baby, Take Your Clothes Off," and this guy happily peels off his shirt, clearly enjoying himself. Everyone seems to be enjoying themselves, as the Vessels break into "Super Sleuth": "Excuse me, mister / pardon me, sir / hey, there, asshole!" Punk rock with a southern twist....
To the credit of RMC organizers, the music at the clubs throughout Seattle run the gamut of musical styles: everything from jazz and bluegrass to punk and metal. Just in this one club alone, we're treated to the pop musings of Christine Darling, the rock 'n' roll blues of Nancy Luca, and now the white-trash punk of Vessels of Sin. While some music genre purists may disagree with me on this (and I've read pieces by a few who have), I believe that the variety of the music in the line-up here tonight is one of the conference's strengths. Showcasing talent and diversity is a big part of what this conference is about: opening people's ears and minds to all of the grrl-sounds that are out there. What a great way to spend an evening....
"You can do it, rockrgrls!": Ronnie Spector is still kicking Phil's ass.
On Friday morning, Ronnie Spector kicks off the day's events with an inspiring keynote address to those of us attending the conference. What a treat and a great way to kick off the first full day of the RMC....
Ronnie Spector, of course, is a legend, and her work with the Ronettes (whose biggest hit was "Be My Baby") rightfully places her among those first rock'n'roll "girl groups." Although I'd read about her psychologically abusive marriage to Phil Spector, I had no idea that she battled Phil Spector for over 15 years in the courts. Talk about perseverance...this is a woman who dug deep to find the strength to claim what is rightfully hers (her songs, her image, her talent--in short, her identity) away from a man who still fights to control her. Even after all this time, Phil Spector has made it known to the Rock & Roll Hall of Fame that, if Ronnie Spector is ever considered for induction, he will cut all of his ties with the Hall of Fame. Ronnie pointed out that John Mellencamp has been the *only* participant (male or female) in the Hall of Fame festivities to denounce publically the Hall of Fame's shunning of this great talent.
Ronnie is funny, smart, and engaging, yet also seems nervous in front of the group. As she's reading the speech she's prepared, a few times she says, "Oh, now...I lost my place. Where was I? Oh, yes...." However, her rapport with the audience is wonderful, and her ability to laugh at these stumbles assures us all that she'll get through this just fine! Her subject matter is difficult...it's never easy to verbalize psychologically damaging experiences, and I can imagine that this is even more difficult if you're a public figure.
What interests me most about Ronnie Spector, aside from her amazing talent, is the courage that she continues to demonstrate. At the end of her talk, she tells us that she knows first-hand what it's like to be told you're nothing, stupid, untalented, not creative, and will never achieve anything. She's lived this and has proven all of these people wrong. She says that Keith Richards told her recently, "when you married Phil, we all knew it was over for you." All the "boys" were willing to write her off and to give Phil Spector, "the musical genius," all of the credit, while he capitalized on Ronnie's talent and kept all the benefits from her. Refusing to be a helpless victim, Ronnie courageously tells her story and continues to kick Phil Spector's ass. "You can do it, rockrgrls!"
Perhaps no other moment of RMC demonstrated the feminist rallying cry of "the personal is political" better than Ronnie Spector's openness about the obstacles that she's overcome in both her "personal" and her "public" lives. Sure, she could've just kept quiet about her years with Phil Spector, quietly going through the daily routines of life. However, if she'd chosen this path rather than the active path of speaking out about what she's been through, she would've contributed to a dangerous silence--a silence that compels women to stay in abusive relationships, a silence that reinforces the negative self-image of many women who are afraid to leave their abusers and reclaim their lives. Ronnie Spector be quiet?! I don't think so...you go, girl!
Lucy Stoners and free airwaves: Amy Ray and rockrgrl activism.
At Saturday's keynote address by Amy Ray, I run into a friend I've corresponded with on the Joan Jett Message Board. As I'm sitting down talking to other Amy Ray fans, a woman in the next row, says, "Well, hi, Krista! It's me...KW from the Jett Board!" Well, I shoulda guessed that one! Kathleen is wearing her I Love Rock'n'Roll t-shirt and is clearly a popular attendee at the conference (she's surrounded by beautiful women and seems to know everyone--she is my idol!). Kathleen writes for ROCKRGRL, and seems to be having a blast at the conference. Actually, a huge part of RMC is meeting people and making connections with musicians, writers, promoters, and fans...people you may never get to meet face-to-face without such an event. Meeting other people who support women in music; exchanging business cards, cds, and press packets; discussing issues that are integral to the promotion of musical performances and the arts at a grassroots level--these are all part of what makes a conference like RMC so significant.
A very enthusiastic applause, along with some "yeah!"s accompany Amy Ray's entrance to the meeting room. Flash bulbs click, strobing the room. My photographic skills being what they are--or, more accurately what they aren't!--I manage to get off several poorly lit shots of the back of of people's heads! (If you were at RMC and would like a picture of the back of your head, get in touch with me....I've probably got several.)
Do music and politics mix? Can you have a contract with a major label without compromising your values? These questions and more inform several of the panel discussions at RMC. Coming as no surprise to those who know anything about Amy Ray and her politics, Amy weaves together the issues of music and politics, as she focuses on some practical ways in which artists and fans can support a musical environment that is independent of large, corporate interests. In a nutshell: support everything independent that you can! Independent musicians can work together to get their music to people by making connections with community radio stations and local bands. House concerts--getting together with other musicians and performing in someone's home--are just one of several ways to promote local and independent music. Bands can also share databases (fan mailing lists, names of community papers and radio stations, etc.) and build Web sites.
Listening to Amy, I find it unconscionable, yet not surprising, that Rolling Stone, a magazine that has for years championed its own brand of "renegade" journalism, has not yet featured the Indigo Girls in one of its issues. Rolling Stone is just as guilty of reinforcing corporate interests (those of their advertisers and the record industry executives that the magazine serves) as other, more innocuous media (i.e., mainstream radio stations that exclude the Indigo Girls from their playlists). Clearly, the Indigo Girls have proven that they can make money. The duo's record sales have been consistenly healthy, they continue to sell out concerts, and they have a notably loyal fan base. "Well," speculates Amy, "I'm sure this has everything to do with the fact that we're political lesbians." I guess that the Indigo Girls are a little too subversive and dangerous for some of the powers-that-be. However, the Indigo Girls and their continued commercial success are a perfect example of how artists on major labels don't have to "sell out." But, just in case there's any doubt about this, Amy concludes her talk with a performance of "Lucy Stoners," a song that, among other things, sticks it to Jann Wenner and the "old boys' network" at Rolling Stone.
Amy takes time after "Lucy Stoners" to answer a few questions from the audience. One of the questions comes from a guy in the audience that she calls Jim: "Hi, there, Jim!" Now, everyone seems to know this guy. I'd met him the night before in one of the clubs, at the Kill Rock Stars showcase. He'd asked me if this person dancing in the audience was "a girl or a guy", and we chatted a bit about the Austin music scene (we'd both seen Patti Smith at South by Southwest...he'd been to SXSW a lot, it seems). Well, as I find out later from Kathleen, Jim is actually Jim Fourratt, an Atlantic Records executive (and everyone knows him...except me, that is--this conference is filled with lots of surprises...). Jim asks Amy who she's voting for in the upcoming election (Gore or Nader--George W. isn't really an option for anyone in this room!). Confessing that she was hoping to avoid having to answer this question in a "swing state" like Washington (a state that Bush could likely win and so "progressive" voters must decide whether to vote for Nader or Gore), Amy diplomatically explains, "Emily and I decided to never endorse candidates, but to let people make up their own minds and vote according to their beliefs." After a pause, though, Amy says, "If you live someplace where you can vote with your heart, vote with your heart. But if not, please vote with your head." What more can ya' say about Amy Ray? This grrl kicks butt....
Courtney Love is Looking for a Bass Player (and, yes, she is really smart & still kicking ass)
Saturday evening brings a great surprise--Courtney Love has been added to the program and will be conducting a q & a with RMC attendees. What a treat! This is something I'm really looking forward to.
The conference room begins to fill pretty quickly, and I say hello to several people I've met here in Seattle. However, RMC organizers come into the room and announce that we're all going to have to leave the room. Apparently, no cameras or tape recorders will be allowed (unless you're taking pictures for ROCKRGRL--lucky Gillian Gaar, the photographer whose head I got several nice shots of...). As we all get up to leave, we're also told that only those with conference badges will be allowed inside.
Standing in line right behind the members of the band One Step Beyond, we're all perplexed because we have cameras and don't want to give them up. "Y'know, we should go eat before we hit the clubs tonight," says one group member. We contemplate going to grab some sushi, but then quickly decide to stay for La Love. After all, if there's this much of a fuss, she must be worth waiting for (and relinquishing our cameras for). As others hand over their high-dollar cameras to the door guardians, I slip my disposable camera into the pocket of my camo pants, hoping no one will notice (not because I'll be snapping pictures, but because of the hassle of getting the camera back after the q & a...).
Several security people with headphones descend on our peaceful gathering, as we're allowed inside the conference room. "What are they gonna do? Strip search us?" asks the woman standing in line behind me. Clearly caught up in the drama of the evening (yes, the drama that is Courtney Love!), she quickly makes her way to a nearby pay phone to call a friend of hers and to do a little bragging: "I've gotta tell my friend about this!" I promise to save her place in line.
Meanwhile, one of the conference staff members is passing out slips of paper, as her companion announces, "We'll put all of the questions in this bowl, and Courtney will draw them and answer only those questions she feels like answering. . . . " No doubt about who's in charge here!
Organizers let us through the door one by one, and soon there doesn't appear to be an empty seat left in the conference room. ROCKRGRL editor Carla DeSantis tells us to all move to the center of the row so that people can find the seats that aren't yet taken. According to the Courtney Love ground rules, no one can be standing or sitting on the floor. Once the seats are all taken, that's it...the doors will be closed and no one else will be allowed inside. "Courtney will be here soon," Carla announces. "She's a little high maintenance, but she's worth it! Thanks for your patience."
Finally, Courtney Love enters the room, smiling and appearing relaxed in a yellow t-shirt and jeans. She sits down in front of a microphone with a pack of cigarettes. As the applause for Courtney dies down, we can hear the chants of those standing outside who have been denied admittance because the room is already full: "ROCKRGRL...let us in! ROCKRGRL...let us in!" Courtney listens for awhile and then, with a big smile, says, "Wow...well, I think we should let them in, what d'you all think?!"
Almost everyone in the room stands up and applauds loudly as the gatekeepers open the doors and the rest of the rockrgrls strut themselves inside. The woman in front of me can hardly contain her enthusiasm: "That's right! That's right! C'mon in, grrls!! You go, Courtney!" Courtney easily wins over the crowd with this opening gesture (though there is really no need to do so because everyone in the room--myself included--loves her).
After answering a few written questions (one about Britney Spears--Courtney thinks some of her songs are pretty good, even though she doesn't think she's a "rocker" like most of the musicians in the room), Courtney decides to move beyond the self-imposed boundaries that she'd drawn for the evening. "Hey, you know what? I'm getting a good vibe from this room, so let's just forget this, and I'll answer your questions directly. Who has a question?" Immediately, the hands go up!
For the rest of the evening, Courtney answers questions and also gives out advice about how musicians should prepare themselves to protect their own interests when it comes to the business of making music. She spends a few moments discussing her friends Michael Stipe and P.J. Harvey, who, as artists, insist that they don't want to have anything to do with the business aspects of making and distributing music. "I just get so pissed off with artists who keep proclaiming this...as musicians, we've got to protect our interests, we've got to cover our asses, because no one else is gonna do it for us. Not the lawyers, not our management, not the accountants, no one." Just as Amy Ray had earlier advised conference attendees to get involved in the business side of music so that they know the inner-workings of distribution and promotion, Courtney also takes the opportunity to share her experiences with us. Most importantly, she says, musicians need to unionize to protect themselves against unscrupulous record companies who will exploit artists for their selfish commercial interests and then hang them out to dry.
She also spends some time lamenting the decline of music education in the U.S. public school system. "I've been auditioning bass players, and I really want to hire a woman who can actually play the bass!" As a point of contrast, she points to Canada, where music instruction is taken more seriously in the schools. "Of all the bass players I've auditioned, the Canadians are the best."
As luck would have it, one of those potential bass players that Courtney is seriously considering hiring for Hole is in the audience. She raises her hand to introduce herself to Courtney. "Oh, yeah!" Courtney says. "I remember your tape. You are really good! And tell everyone where you're from."
"Canada" the woman answers.
"See??!!" Courtney exclaims.
Courtney also spends some time talking about how it is important for women to put themselves out there and not to be afraid to rock hard! This, of course, gets an enthusiastic response from the crowd. Talking about Hole's drummer, Samantha Malone (currently taking time away from Hole to play with Motley Crue), Courtney illustrates her point: "Hey, when my drummer, Sam, goes out there with Motley Crue and bangs out 'Girls, Girls, Girls!' with those guys, that's pretty damn empowering in a very subversive way!"
Courtney continues to field questions from the audience. "Is there a place in today's music for a hit by a band with a butch dyke?" asks another woman.
"Oh, yeah," says Courtney. "Please! Your charisma is hurting me!" she exclaims, as the butch dyke's face becomes noticeably red.
This flirtation between Courtney and the audience continues, as Courtney seems to warm up to the audience as the evening progresses. As rockrgrls leave the room to go to a club for their gigs, they leave cds and tapes for Courtney. "Oh, thanks! Great...more swag!" says Courtney, flashing a smile at everyone who leaves her something to listen to and wishing the rockers luck at tonight's gig.
Courtney continues talking to us for about two hours, encouraging everyone in the room to go after their dreams not to let anybody or anything stand in the way. This has to be the high point of the conference, and it certainly is a great way to wind things down. "I apologize for sounding so much like a lawyer!" Courtney says after taking the last question. We give her a standing ovation, and she graciously thanks us. She genuinely seems to be enjoying herself this morning, and we all leave the room feeling upbeat and energized for our last night of RMC-sponsored live music.
