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sc'ions from .ut iia., I am suoported by severa I or the y.ilnger lhe corg'is cloakec an: sasre:. some of cur better farnilies, all suitablv van' but ir :.e n'"-tlC ll'e-v afe can be b bit of a nuisance in the band rer,narkab'ly we I I beha ved on st age even The chaps in the barid area terri fic help and rl: a: :- s:xist. TheY let me carrY the gear and don't assist esPeciallY' 3,ct if the amPlifiers re qaite heavY. It could be difficult be'i ng the only wo'ran in ihe banC, rdere it not for the great r.espect the British hold for the.cnarchl'. 3esi3es, after singing Land of Hope and Glory for twenty n'i nutes a', the end of our performance' they are often jn no fit ccndition to "iake unsuitable advances. I do think that v/omen are t cal profession than they are in routine day-to-day life. It seems ironic at a t'ime when our nation has a female i,ronarch, a female prime 14inister and female members of the stock Exchange that most vJomen - despite the.ir obvious superiority see t'heir role in rife as housewivesand mothers; but then, so often, this is thrust upon one. After ar r, Ididn,t choose to be Queen. 0n the

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THE fiAINOOATS

are a four

ltoman

band. Gina, Vicki and Palona PlaY

guitars, Gina Plays violin so:ne songs,

Palnolive is the

drumraer. They

started in

r/B

Palona and Pairirolive

r+hen Anna

Novenber

got together. A1l" of then have

been

in other groups. Palnolive and Gina in all-i+onen bands, the Slits and Jam Today respeetlvetr"y"

0onnier Oo you think paying 'rith wonen ?

itts better

Y: l/e find its rorked better this way. Probably because Hetre wonen. hobabLv. naybe .....

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f orrned" January I9?9 Au Pairs rnake uP: t| Les', vccalsf.guitar O Paul '. vcea\sf guitar ! Jane: bass

r Petc: drums 3 track singla released August I - oT0 2.

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I :5SIIE t I knew Paul and. we.wexe in a band before which was disasterous and I tcgether re needed a drurulier, coufinrt find a. feI rrale drummer so Pete, who Paul Knew, cane I |:ound and we started. janming with him. 1 off lvlartin (ttre nu Sairs | ;ot Janes nunber just mna,ger) and asxed her if she wanted I I to cone aloag. l.lanU : I got a bass last sunner, because I wanted to play sor"ihirrg. I | --a""io"d played it on my own, it wasnrt very I iust playing interestine on ny own. *hen I went I al-ong to the rehearsal with the Au Pairs I

wefd never handled that xind of aud.ience before, but it was alright probably be-

all stoned. I just kept srniling at, then.

cause rie frere

the first l'd ever plaved with anv-. lll;:" JONNIE r what type of notes did you use ?

I I fiNE'T At first I had to be totd what to I llaf. PauI would. work out the chord I sequences of the song and write them down | :'or me. I just pryed the root note rather

bits to start off with. got Irve to i<now how to play I do tne lAs cass fines pick it up as you nyself. You I along. Jo I I qONNIE s ,id you fino it hard at first. in -oana r I tire Ueginning to pray with the iAliE : It nras a bit nerve raocing at first I -oecause I thought I haci no nusical Ano'{| I ieage, I d.onrt know what lrrn doing but fau.j-l gool teacher, real\r patient l;as a really just a natter of picxing up confid.-l I and its I ence, of getting on with it. I really I enjoyed it, it was great playing with a I I'oand, I never tiought I'd. d.o it. I I JONNIE i i'iow do you feel about the audience I I iESIIE s nell r,re get different types of I ifrGc"s ciepenciing on the sort ti gig, ,.,e I i niayeA at a stud.ent teachers benefit gtg inl l Ha1sall, it was a snart piace. The aud.iencel j was incredible, all about 2J I suppose, I ivery straight peopie, straight student I i teachers I than playing fancy

I I

I SYD : Could you see the audience then ? I inSl,fg : Yeah. the first four rorrs. I iedT Its altays the really punky guys I who corne to the front, its their sort of I territory. lfASLfS : You canrt infringe on that rcause in their J-ett1e gangs. Jut-ie lho I ffiatl roadies for us was down at the front, she I I always comes down to the front anC dances. I rven if no-one else d.ances she still lcomes and dances. lts allrays nice to see I her there. She nearly haci a fight on one I of these guys. They bashed into her to this guy 'Fucx Ofl I continually, she saici r. you keep got really heavy bashing me He I with was willing her and she to have a go I I at hin if it got physica-t. I SyO : You xnow about ne 6etting rammeci I i*" the stage at that u,J*on" !ig. tno-" I guys were picxing fights at_ the front. I JANG : There was all sorts of sil1y ihings lg"f"C on there, there were people on the I balcony chucking d.own I cigarettes, glasses, I sonebody over,

lighted

matches,

they even'threw

ItOSUg : !'lhen we played BarbareLlas ire I h"d;q hacl a lot of =tag" experience and lBarbarellas uas a big 6ig after pj-ayj-ng the lfighting Cock-s when there's a hell of alot I of peopre you know in the audience. I I just smilei. at thern alll,lelt : Yeah thats the way to d.o i.t. If Ith"y donrt iire you after at1 .....,

t__ ILESIJE : These guys xere heavy, they were lFiltrt"y

d"ancing Ma,<ing noises,

"ere up trying to d.istract I I shouting things You Know what theyrre Like, yeah snicxer I I rOy over, over here! - one tried to get lup on the stage. 0h, it was funny. But I very conservative just kept smiling at then every time I I II thought they were gonna trow a beer at ne There was a blohe walking around with a r uirL you ever get any insul-ts? I jocx strap around. his nec*. He thought thatl lCOfUte LESI{8 : I suppose they do but you d.onrt iras hilarious. I went up to hin and said. isl really notice it. that where you keep your genitils. Gr:ys I JANB : No lrve not, not anything that woul-ci

sitting

in groups tali<ing about the I That type of audience nai(es I Ine angry, i.n a way it d.oesnrt natter what I they think, they obviously werentt into ourl type of musi-c. That situation is quite Codl i.t nakes you aâ&#x201A;Źgxessive. de did t"hat sie at| Sarbs and there was a 1ot of heavy punks, I skinheads d.own at the front who could have I been quite rowdy, the type who tirrow beer I a! !q44s, f wasnrt worried. nhen rle r*ent on, I around

'i.atest birdr.

really upset you. CON$_E : Not get your kniciters down or anything like that? IESTIE : when Pattie Snith was at the gcieon she roLled around on the fLoor as part of her act and her T-shirt eame up accidentJy. And all- the gr:ys in the crowd went way-xay owwow. we donrt get any of that SYD : I suppose its the gigs you play, the

aud.ience you get.

Yes and how you set out to treat How you nove around. on stage. Like Debbie Harry, she d.oesnrt move around on sta,ge in a sexual or provocative way but the uay shes dressed. SI!. , Like a sex object, 5.snrt she? LS,SIJE : Yeah autonatically I suppose,

I6SLIE

that audience

says

very

sherll get that sort of reaction. The xe did down at the Fighting

first gig

Cocks, there were these guys eorning up to us saying, "Yourxe on to a

suppose its possible to do a fuIl tine job and be in a band.. r,ie rehearse quite a lot. And if you play a gig ttrats any distance away i.t ne;Lns setting off early

getting back in the middle of the nigh Its difficult to d.o 'a fu1l tine job. I8$I,IE ! And its also getting the publiclty together for a gig. And the telephone calls &artin (tneir rnanager) does a lot of it. But its not just the praetising and the gigs its other things as weIl. SYD r Can you get kicked off the sociaL? Jl0{E I It d.epends real}y, sone have gotten away with it for quite a long time. de'd. have tb get jobs if they cui us off. It would be disasterous. 9E : why are you in a band, for the fun, sonething to ilo, ox . .. ? JAjiE : I sometines wonderl! I donlt realJry know. I enjoy it a Iot, its sonething Irve wanted to do. IASIJE : The naln reason is you want to do a^nd

it..Therefs quite a 1ot of reasonsr Xou go into why you are the type of band you are as opposed to being a boppy social

club band." 0r why you're ctoing the type of nusic your doing, $ : And why axe you doing the type of nusj.c youlre doing ?

r lI$IrH. t Dld you decide to do the type of nusic yourre doing because you liked it or just happen through constructing it? r Yeah, it happened. to quite a large extent throrgh eonstructing it. we

v].ll8 two rionen 1n lne oano, you a loi nore, naybe wear high heels and black tights" SID : Just a menber of the audience? i8Slrfg : Some stupid bloke. .dAS. : ne get the odd sort of snidey eonnent but its not when HetTe on stage. This guy; who sha1l remain naneless, who plays bass in another l'loseley band said that he thor:ght we had no nusical ability altogether and werd be better off working in a faetory move axound

!$. : I thought it was really funny actually. 'tqgLIS : He thought that was a really big put down. lle, Pete and Pauf were at the Chinese talre-axay and he cane in, I

didnrt

knon r*ho he Has and Pete says thats viho said. that. So we stood there and said. loudly hor+ i,ie must start working in that factory llonday norning. And he sort of erept over into the corner, COr\NlE I r{hat are you doing for your li I Ctr, nothing, just signing on. r It is Dret

the guy

clear ideas about the sort of nusic d.liLntt liant to d.o. That was unani-nous. l rdho wrltes the nusic. : The nusi.c just cones of getting l-n

the eellar

Soneone has

work round

it.

a basie idea and. rie

l That basic idea can change alot' takes up alot of tine argueing. It very rowd.y. : r,lho wrLtes the lyrics? leslie.

you written lyrics for songs before you joined the band? r Yeah, I had written nords' l{hen we aI1 got together for a ja^nr ire ha'd' to have sonething to jan around. So Paul and ne had worked. very roughly on a couple of things. And had a basic id.ea about t&e words. But its weird how ne do the word"st isnft it? SauI cones uP riff and I go lnto ttre nicrophone and you ge,p a llne in head, Iike ttrat song "Yoti'- Yourre just a nunber." and you progress fron there. Sfp ! Are you going to be playing outslde

Ha.d

ltetye areanged. an exchange.gig

th a band. ln Leedg, Delta Flve

rus one ln leeds if we got :hen one in Birminghan. 3IO : Good idea that Do you have to 1ny f,or your own expenses? : You might get expenses, naybe to over petrol costs only. Soneti.nes you ve to 1ny yourself. s Do you have a.ny political concept lESi,IE t Yeah, I hope so. Doesnrt it sound.

llke it

SfD&CONNIE: Yeah, ]IESIJE I tsut its very basic. Our son8s ajre rbout everyd.g,y experiences whieh should. cone out of every experience" Theres no that everbody in the aud.ienee couldnr s A"re threy fron your oi{n exper I 0h yeah, but theyrre not personal. rre everybodyrs experience as well. : Your nain subject is everyday life

not a special subject like feninism ? IESIIE : No'. 1'5ut are feminist songs, they are about issues that cone into feminism. \,/e do "lilonogamy". The song "you" which

about prostitutes, about

how

theyrre kept on fJ.les, the hassles they ge by the police, how theyrre thought of in society.

: "OuI.b Orawler" - it speaks for Itself. ru. 3 Yeah thats everday life in the Moseley scene! 4!9. t The first song 'rl'lonenrs Prayer" JANS

deals with how wotnen are ha^ndled by the nedia, the i-na6e of wonen put forward by

rlpr or rlriomanrs Ownl JANE : Ird like to make a living from it, I wouldnrt necessarily want to make loads and loads of noney. I donrt regard it as sornething thats permanent, the nusic business is dicey, you canrt expect anythine at all. Its very fickle. The music papers are fickle - build sonebody up and then knock then doim.

l^/e donft nake nuch money always nex strings, drurnand things we need to buy. : It really bothers ne that because the equipnnent people canrt hea.r the

lrlefre luciqy werve got orrr own a rsvalA nonitor. lre havenrtY got 9v- . Thats 4rle I 5v v e n advantage in being a support band in venues, we ean use the other bands .A. $ihen your a support ba.nd at a gig like that its a sort of code of practise that you give the grrys who are roadieing thoses P.A.'s a tenner and. if you donrt they get heavy. The mixers whose p.A. it is can really fuck it up for you, yourre the support band, they don't give a shit when you go on they can

wid.dre aIJ. the knobs to nake it s bad.. llhich is why you give then a tenner so they wonrt do that. At the end of one ig this guy had Paui"s amplifier and wouldnft give it back until he gave hinr

the tenher. we o/ly nad,e tJ25 at that gig. a support band you,re vulnerable. >ometimes you d.onrt get paid. at all . $r.lpBort s will pay up to $1000 to get on tours with name bands. lyjerve been lueky, the bands werve ted have been realIy nice. $ven ttie that support us now, relatively 11 time thing, I always nrake sure they t sound checks - d.ontt treat thern d.iffer tly. So that if we got big, we nqrld.nf i hit on people. Its just not right, theres :.

o need for it. The bigger bands are reatened, they donrt want gaocl. sound ]-n case you're you're better. SYD : How nuch d.o you think people have a choice in the musj.c they like? tr : The independent record labels have done a lot, given bands a chanee to play their nusic, the facilities to bring out singles. Now bands donrt have to sLgn up to the big record companies to be tablished. : If you ca,n scrounge enough nongy together to bring out a single, you can

: Its a neans of control that is : How does the band get on ? t we all get on well together. Wef

not Like some bands riho never see each other outside of rehearsaL. we go to thipgs together. : I think alot of bands now tend to friends as well as naking nusic tother'.

s Yeah its nice. Irve met some really stupid people they d.onrt agree because you start getting fed up with

each otherspend.ing so much tirne together had an arguenent with Pete, say, bout something not to do with the band,

If I

when we practise its af1 forgotten. ESTIE : The wonen in the r,t.ivl. (which I 6$port) who cone fron that acadenic

kground have expressed concern to me t Paul and Pete are not sussed out on theory or whater.

*Jhich doesnrt bother me at anyway. You donrt need

all, none of us to have a e to understand things. I do think there are very fpw ways for people to get into the W.i{. I'was in a conscj.ous raising r the Honen in it had been activeJy olved in tJne r,'/onenrs lviovenent and in pol.itical organizations, aI1 were d.oing .HDrs and'l{.Ars on leftish feninist

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Connie

How did. you

get together with the other girls'l i'iarlene - Together now

O - How d.id you come to forn a group and play music? Uarfcne - Klaudia and lislot wanted to play in a group and were already watching out for people for sone time. But we couldnrt find. the right people. A year later we started spontaneous to play regularly with two guitarists (not on sta6e). laf,er we couldntt get, on ar\ynore. Then (buaia met iviarlene at a concert a,nd we started

fgurteen nonth, net i-n Zr:rich by chance. Con&ie

tc play together with all-

Connie

Marlene. gggglg

How

long have you been playine before? Not at

That nears thatrs your

first

long have you been playing your instrunents?

learning or:r instrunents. l,/e played according with

hand.s and

was

feet

band.? Yes.

nake your

and sinple songs. Marlene

living

How

Lislot - yle started febrirary r78 to our feellngs, we helped eaph other - I

have been playlng saxophone before.

the only one who ever played an instrunent before

you do

Connle

donrt

started., Connie - What do

make noney

playing ln the band and

we have

to work.

l^Je l^Je

take up temporary jobs, li.ke offiee work. Two of us have part-

tine jobs, 3ut now during our tour we get

enough noney

to live on, d.uring our life

are in Zurich we have to work and wii.] have to find work when we ar.e back Connie -

living together ? No Q-onnle - Are you living in household.s ? Lislot anC Kl-aulia - No , we live in ordirary apartnent-stores. Hegula is the only one whors Are you

still livi.ng at

home, and we have eacb

people of,ten and. also

that

a flat.

visit other peopler but

In Zurieh

we use

everybodyrs got her onn

to invite

flat. Itrs like

vier places where r*e could go to. Cqnnie - Do you No ne donrt play very often ln Zurich because and we woul-d. have to compose always new soRgs to keep

because there are only a

often play gigs in Zurich

the town is relativeJy smal1 people interested. Have you been

If theyld hear

always the same songs theyrd. get fed up. Connie

playing nuch ia Switzerland

much. Connie -

What

No, we havenrt been playing so

are you doing privately

kind of difficulti.es do you have in the

? Lislpt - We only have the usual difficulties beiween ourselves. But we found. it hard to get acceptance fron the aud"ience, whq in the beginnirrg approached us as little girls who were trying to get on stage nith the help of sone big brothers. Sone shoutedt get und.ressed or Connie -

rrJhat

pu1l yor:r trousers

do-r*n.

band.

But now we rarely have these problems anymore.

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R;,";;**ri*##

ffifii#S;;d p't=;*t'q'l$#;-ffi time aga'ini i '

if i had nt

it i had .I

han

Iike to

come back

as a man

emym0 on;t t,lan behind and fall behind and

I I

the others

if i had another life j 'd get mysel f a wi fe a another o c,are for me y day and night e wou e ^i ust e my rnother ang behin and fa wait on al :l if i had another ife i used to be a tart i sold myself as art n

ov/

fee

her pri ce ever

ody

ust-Ti-G

doesn't

eir prlce.

er. UP

YOURS

the others

ffi l,Jhat

i'm trying to

oDe!

.I don't . . . i don't to . . .don ,t want to don't want to go under. . .don't urant to go under ....under under, [nder,uniler,...don't want to go under the doctor And when it gets real heavy,i f you start getting stroppy ey ea I you out some miqhtv d'oPe But And

f ine rt um ......fiogadon.....Thorazine. ".. they haven't got affi

Bulljed into passi vity,seduced by servility, I'm talking about you and me otta hre strong Cos nothing takes the pain avlay for

long

*.ito*Eo on ulE

ufe

ItotJ,.o*ouo

ui se 1i es

vra11

Liggersr with the MekonEffiS us. Then we got offered a lecord single. There was loads of hassle with the ivlekon about that. The guy who was paylng

did you get to other ?

How l,Je

all

None

went

DONNar

know each

schoo] together.

of us were in the sane

elass except

for the 4th year,

we all got split up because were bad influences on each

other.

PAITIE: l,that happened was we were at Band on the wa1I one night and David asked me if I'd like to sing '0 Sondage Up Yoursr the last nunber, one of our favourites So we wrote down the words dead quick, sort of learnt then. lt1e, Gillian and Gina just got up on the stage and were

sereechin' it out, lt was absolutely horrib-Le, but the audi-ence loved it ! *e started

for

the

recold, .Dave gsn11ey, suggested we try the Non-sensibles; .But they already had a ]ead singer, }'le tried one rehearsal with then but figr.rreo. they were too nuch into their own nusic, which is und.erstandable, to be a backing band. for us. I donrt bl"ane then. dhich is why getting our own

backing band like we have now is such a good thing beeause they d"o what we want theur to do, whereas before we had to ask then tcould we Flease do this ,.... t Two seperate bands on stage together doesn't work, you each want to go your own seperate way PAttIE: ile knew Andy Zero, tire drumner in our band now, because he sold the local- fanzine, we used to brry it

off him. D0NNA: Andy Zero iook eonplete charge then. Said tlrve got the backing bandf. It was no hassle. we hari

to do a few nunbers wlth the Mekon*. Gillian dropped out by now, just me and Gina at flrst. de did some awful gigs like at !'eilden ?ark, where nobaiy clapped.

a conplete backing bano. nithoui having to aovertize, SYD: to you mean by. a backing band. that you do the lyrics and nusic ? 0ONNA! Thats putting them down below,

that bloody dance fl-oor going like (initations of jiving to the rnusic). Nobody el-se is out Lhere

PATTfE: They

I just stood in the middle

and everybody's looking at ne trying to dance, going "Shers with THOSE on sta6e." l'1e slid-

ing doi+n in ny chair - rI don't know then - honestl ' So embarrassing. PATTIEI It was so awfuf. Then after that

,onna decided she iranted to join us! I DONNA Yes I know and yourve never E looked back sinee. PATTIE I Fie sang along with the I'iekon for awhile. *e cal1ed ourse.Lves a seperate band then tThe

put that way. write the music and the lyrics.

write

DONNAI They nade up about two tunes and we fit lyrics to the tune. But lheyrve run out of twres now so they'd like us to give then a hint of what sort of nelod.y rierre

after. It's good. I cantt write Iyrics unl-ess I have a tune in ny nind of how I want it to go I hunned the tune of rThats tife| toS , our lead guitarist, can you do anything like that ? and he got it straight off,thats what I calL a good guitarist. He )-i<new what I wanted. CONNIET t{hat about the rranaâ&#x201A;Źenent side ? DONNA: do j.t ourselves. |llerre not big ',/e enough to need anybody to lake of our affairs. The places

where we play are locaL, we know the narrager, we leave it to then. PATIIET Andy, throrrgh producing the fanzine, knows the managenent side and can help us get gigs. someone who knows

Ue would one!

like.a

nan4gerr a

rich

to put pOfr1e t l,a*t-iieha w1s the flrst ntght vvrvsw"' whors prelnred. ililfuer '-:t;; sot-faith' she danct )d' Never agaln! "**r sonethlng lnto q9, rhos got faittr. often d'o vou rehearse ? How collggr ;ifiG; [tffnt ltrats all we nired real\r. as werd }ik-g: col{NrE: Hor long rrav" vo" tt"* iroging foi DONNA I Not as often aa r--3!to''find a tlifficult lt find lfffgt 'si'e AttIEr About' elx nonths. place to rehearse' iinre r wetve only had. about one gig a c0NflrE1 wirv ao vou. make,"u"19-'odo You ;;"il iffid;naie somethlng to say-? r uo"ra yoo iit" to play an instru- llsten to our llrrics' sone I DONNA If rnent ? -i you irr"* are trYing to get a Point 0l{NA t Yes. aftr8r shes been trying to teach herself tpatrre' !tt9"*' - statenents ac wa'r'r rror^i well, Doris -r^r^-^-*^ as

il;;;:

iffi""ff:"nlflTol""'iff'oi";;:

lllilTxt*ff;;iq:i*n*

AtlIEt

IONNA

'"-"aJa'";;iiv:

ure wouLdnrt

liost are

*tiffij**ftilii:":::":il::

nind' having a k

ffi:;:' lff"o'i"::ii;"1$ alt these airs and

s \i6 have

:: Iffr#;ffiffIl$r*

l,ra just irrq* need napd the *.h,l noneY. monevr He sxo : :woutd you rike to play an instru, a""-you 11vin6 at honl ? rnent, Gina ? lmfat Yeah, we all do. ^ your get riith on r ieafr, I ean pl^ay the bass a bit.play lnrents? 6ltiigr Oo yo,, rtNNA ! I eet on better xitl my nun now -GINA taeaiistica11y.....Ird 1ik9 to -

Hffi:ii$ffi#ili:; ftfit*'3$f#H:*: -

iUt trrt its a question of ^noney. C.NNIET How- cio you feel on sta,ge as three singers ? PATfIE: I get on with rry 4un 0.K..She's' rO.h, I donrt rebel as nuch as I I GINA Co#ortable. If one of yot falters rcause got anynot Irve used. to the otlrers can caxfy on. You have thing to rebe] a6ainst. a laugh as {e11. I think its funny I a as band the take to usea rI all these poople paylryi noney to E UllLT: $::,"i1"ilil'11,, ffi:r":L see us in Didsb,ry! to d.o nelI. Its nore tkran-iust d CSNNIE: How do you get on with your hobby, not an obsessi.on' br.lt nore lnrents ? tlran just a hobby. rle put a 1ot ffi r {uite well. }ly nuns rea}Jy for the of tlne into itr conpared to the fl Uaoe, shes grLat. $he was going !9 rne slnging but sherd' anowtt of tine bn stage. The -I "onn"'rnO audience doesnrt realiae how nuch E of it. She could borrow ny out ""E i"ef tlne a ba^nd dpes put into tlre arahs - but shes too fat! le get a btd good work, whether they be 1ot of support fron our scfrgo] 9r E people A[trEe rf anythlng gbec wrong friend.s ai-well. Renember t'hat gig E rTut-tut they shabby! ttrink at Southport ? . -. -E I aon't realiae yourve rbhearsed'' lt DOH1IA r i"*r afi 11re ppnlry-poos of Souttr-

*, I

i?':l;";yt lffi"'ffiilosiu trS:ff:l"iiitlY ?::"T;l*"' ptryeical wrecks. _Af!"I

{o}.'v?

H;L;";J:r-trifuitt!:.lylens: feel good._^. ioRs overr You

ffi{.Xir}

il:; Hiti:"tr""'#r

around'

*h*, wc reren't bothered about!

lgl,l H:,':Lt; *::t,:ffillli""3rlu*. CII{A r peoile are legs tnc"fS.nea-to_taice.'e

AIllIErIt takss guta. At ffustr Itd go eeriously,becauge *?'":_ q91":^Il? on eiagg H,lth the I,rrigs-t1enb- n;-;h'"';"*a*E re do heie a Boint tlng ln one^hand, I trleci*to Sre]r salr, :s:y Bong6. our Euehind eqeak dorm ldto ny coat. I rouldfntb the art

drncen

dst

etaad

tJrere

EiGG; f,ilac

strle - retg 6ct or.ltt Thrce glrrs r greet

nove ., It deneans us a bit. lllfNA : It has its advantages though. If we Here just a boys group, wel1, all male bands are nore or less the sane to look at. Three girls and a bacxing band of males loors quite god. ;I.\A : Iiore Cirls shouri get 5_n the nusic

your sound by malring it too professional and ti€htr'which I think $1vis tiostello did. r,rerve got a ra* edge to, our sound. which I 'think

business than are. Theyrre jr.r,st as

calnble as blokes if not better. PAIIIE: ,rerve got a position of authority quite appeali.ng. in our band. 're share in ciecisions. DUNNA : Thats aisgood thing for the auciience GINA : :-ets see if shes a gooci looxi.:og wellas goes wrong, sornething if person, l-ets see i-f shes got a nice people's like they lauehing at bfiiy, Lets see what she sounds lixe enbarassnents. Youfre fallible to rt er€rit, be in that order but at that which nakes you nore endearing ieast i.t gets thern to listen. Ln the to audience than spic-span crr sonts re try to put ourselves groups who go on uham-barn-thank-you cn rB eq'.:aI footing witir the ycu donr feel anythlng when natnrauiience, de are playing for then. for then. re have an unisritten eontract with then to nake sare ttrey enjoy them- SY.D : AIot of audiencep want sonrething they donrt have to put any effort selves, thats what r*etre there for. of th'ernselves into, donrt they 'i ,:ATTIE3 rjie cantt have the attitud.e of GINA : 0h yeah, I agree" lrhich is perhaps superstars on stage. wetre just it'hy we d.o appeal, werre not that too naive about it. outrageous yet, wetre not anliDONNA ! Too nervous., derre always anazed anything too nuch, Are ue at the when people come up and say they moment

enjoyed themselves enjoyed us, it really naKes us happy when they do that. Alt this shit about bands noi giving auto-

But we wiLl siart cioing that - so _Eatch out worlril ! How d.o you see yourselves goin6 on? rrerd like it to be long term.

graphs. Itrs terrible.....you owe people who'cone and pay to.. .,...

A :I

PATIIE:

that. yourre setting yoirrself up to be in a high position. Ird. rather just talir to then anyway, so we h6,ve a good. tak, not just sign autographs. 3ut its hard to ta1k to then, you knor+

them, yourre enbarassed..

Yourre feeling nervous. GINA r But thatts it. you have this mutual bond though pattie, i.e. your nusic, their interest in i.t. Its ego-boostlng to talk about your self and your nusi.c, Great werre not naking eneni.es. CONNIE: Is there anything yourd 1ike to change in your band ? PATIIE: Ird like a nore weird sound. to our' band. More experinental.

INA t I

ilerd

disa,gree with

donrt

a€xee.

efTIqL Using things like echo r.rnits to nake the sound nore disturbing than it is. Right now its sort of pleasant and normal on the ear. t 3ut lte can t t get too ad.venturous

Itoo soon. I INA r To swap and. chgnge untif ne get want. Jou ean change, I1.r|t"tthatswe the xholE.point

in a group, not to'stagnate. Notito of, bainA

No,

like to get a large following

and be recognised. Just be recognised, right? .t'or our musi.cal talents etc., I thinr< -sretre

talent6d.

"HOA.R,

HEAR."

GO A],-t THE .LIGGEnS.

l{erre just pla.ying for nou. |te take every.gig as another rehearsa] where we i-mprove ourselves, Carry on groning and growing You should never stop, when yrou get too tight you should dissolve all that away and start doing something eJ-se, if yourve got it. 0r theres no advent-

ure. Its good fun. Good experience fot' Iife. when you get into the cording business and see all the shit tlnere is about noney its ing. lre donf t want.to be ripped. off but then a6ain xe donrt xant to too shreud

and.

clever.

JTJ

r"T.tnJ r\-- r