ISSUE 6 ThereÕs A Riot Grrrl goin' on by Susan Darlington In a week where Madonna and All Saints occupy the top two positions of the singles charts after a head to head comparable with - at least in the tabloids and teen magazines - the Blur vs. Oasis riggings of '95, it would appear that 'girl power' has been vindicated. Following Madonna's chart and credibility rehabilitation with her Ray Of Light album; the commencement of the Spice Girls' UK tour; the eagerly anticipated return of Hole and PJ Harvey after a four and two year absence respectively; and the test of Alanis Morissette's standing in the wake of her imminent second album (if we ignore the Debbie Gibson years), there has rarely been a time when female artists have been so heavily represented in the music industry. But. None of them are emerging grass root talents. The Spice Girls' rhetoric means nothing to those over seven. Alanis means nothing to fans of music. And Harvey, the most recent newcomer of any importance, has five albums to her name already. This is the legacy of the Riot Grrrl movement, a firebrand which threatened to give the industry a wake up call a mere four years ago, where did it all go wrong? A genuinely spontaneous, loosely amalgamated movement that flourished healthily in America for a number of years before being picked up by the UK, it was all but killed as soon as the press started to take an interest. As much about exclusion as it was inclusion, the UK leaders of the scene - Huggy Bear - refused contact with the mainstream media. The scepticism of pop journalism is well grounded, but in refusing to elaborate their manifestos to the masses they were effectively shooting their ideas in the foot. Riot Grrrl should have been about spreading the word at all levels, not just through cheaply photocopied, badly produced, yet redeemingly energetic pamphlets that were circulating the underground. Their silence, their refusal to provide the flipside of the journalistic coin, made them an easy target for the media, who had a gleeful field day in deriding their approach, if not their objectives. That acts such as Huggy Bear, the Voodoo Queens and Mambo Taxi were largely redundant once their music was heard in the isolation of the stereo was unimportant. The vitality of their live performances, in common with punk's blueprint, compensated for lack of musical ability (also in common with punk was the thread of continuity running from the Raincoats, who briefly regrouped under Kurt Cobain's instigation just prior to his death. It was, in theory at least, the sisterhood of seeing girls on stage that would inspire others - previously left unencouraged by the burgeoning male industry - to take up an instrument and have faith of the adolescent boy's right of passage. It was inspiring in encouraging young girls that they had the power, the strength and ability to create. But while fiercely encouraging, it could be equally discouraging if you happened to be the wrong gender. The idea of female only gigs was largely an American import, championed by the likes of Bikini Kill and 7 Year Bitch. Of the UK movement it was only considered a viable option by hard-liners Huggy Bear, despite the line-up containing a couple of boys, eunuchs in all but name. The presence of boys would ruin a night out thanks to their unwanted harassment and negative energy was sexism only equal to the one they were campaigning against. As with their refusal to speak with the press, their favourite female only gigs were self defeating. In only playing to girls they were denying boys the opportunity to hear, act upon, or defend the charges brought against them. Hole, who played a date with the band in London, later lamented their participation, Courtney Love's fierce brand of feminism being about inclusion. While the scene was derided (by men, mostly) for ideological stupidity, it did lead to a brief flourishing of female bands (or brought the attention of already present female bands to the media), those most closely affiliated all going down with the ship (Mambo Taxi, where for art thou?). Those that benefited from the waves created, people such as Blessed Ethel and Sleeper, were all underachievers with a mouth attuned to selling good copy than producing quality records. As Courtney Love mused, "I bet if Louise Wener juiced she'd actually make a good song instead of just giving good interview." But what it did achieve was an interest in the female artist, whose lasting influence was to unfortunately create a market place for angry young women. Both Hole and L7 were viewed as potentially saleable commodities... if only they watered down their sonic assaults. Alanis Morissette, significantly signed to her progenitor's label (Madonna's Maverick), appeared just at the right time to fill a market niche. Not only was she attractively marketable women, she also co-wrote her material and expressed "real" emotions, enough to dismiss claims of artistic coercion. In the wake of her phenomenal success a whole factory line of baby Alanis' has been manufactured, from Meredith Brooks (whose hit single, Bitch, did little more than reinforce stereotypes with it's ham-fisted attempt to reclaim and positively realign male slights) to Natalie Umbruglia, and even All Saints, who have been marketed as the 'street' (i.e., real) Spice Girls. It remains true that any female artist who is in control of her sexuality, her career and expresses heart felt emotions is viewed as a circus freak, too much for the industry to handle. PJ Harvey, who was initially embraced in the fall out of Riot Grrrl, has become sidelined in the inky press. Diamanda Galas, an even more confrontational performer, has never been afforded mainstream attention (though more esoteric publications such as 'The Wire' may give her the respect she deserves). As for the new underground, it's just not happening. A quick glance at the indie charts is enough to inform you that the boys are back in town. There may be bands such as Period Pains, Angelica, and Lillian on the peripheries, but they don't have the ambition (or, in some cases, the talent) to achieve commercial success. The mad women is back in the attic; girl power has become - if it was anything more - a clichŽ; and if there's a riot going on then it's time the gun shots were heard. ------------------------------------------------------------------------ A Critique of the Multi-layered Impact of Society on the Modern Chat-Show, and it's Reciprocating Effect of the Passive Viewer Or Why Jerry Springer is Cool by Honey The love hate relationship between Britannia and her bilious colonisation continues in a cultural and sociological form as much as it occurs in the world political arena. The English are allowed their quaint eccentricities, so long as they concede second place in most areas of development - being a year or so trailing their exaggerated younger sister; whilst Americans are allowed to be brash and affected so long as they can be mocked and curiosities observed as "only in America" - the epitome of all that's good and evil and about lady liberty, god bless her. The democratic constitution , championing human rights whilst crushing the little man and reducing all to the lowest common denominator in the name of equality. And remember the all important, ever persuading middle America. Wealthy but unsophisticated ; nouveau-riche analogies. Silicone cemented marketing is apple pied middle America, appealing to strong moral values of right, wrong, and god dammit unspeakable. Set roles for men, woman, and children, categorisations and hierarchies, the cross of passive apathy alongside irrational reactionism. For anyone familiar with Adorno's work, the homeland of the authoritarian personality. But however sinister it may be to the independent libertarian, these communities oil the cogs of the American economy, give mandate to the aggressive nuclear-proud foreign policies and are so sweetly susceptible to persuasive media they give the ad man reason to like. The American culture is fed by and modelled around middle America, without whose approval nothing is possible; and where America leads the rest of the world puppy along behind. All the stereotypes of the desirable body and lifestyle is sterile idealisation from America - the all American athletic pure regularised (unobtainable) face and physique, straight out of the magazines and into your psyche. So where does Jerry Springer fit in? Well, middle America created the chat show and have spawned the Jerry Springer sensationalism. A little anecdote; there once a chat show that challenged the viewer, was compelling, informative, and presented by an articulate politically active intelligent graduate, who struggled with his viewers in order to highlight deficiencies in "the system" and those genuinely being held back by the state, caught in legal and social traps. But it wasn't successful and his worthy soap box was taken over by a new producer to scale the all important ratings. Guess who this presenter was - Mr J Springer. So now he has guests on his show that leave the viewer shocked yet entertained. These shows left the viewer feeling superior rather than feeling guilty about their selfish motivations. And the ratings soared. It's middle America's fascination with being morally disgusted and their adoration of the outrageous. Relieving the tedium of being so uniformed by observing how the immoral live also reinforces the standards which they abide by, eager to emphasise the divide between the abnormals on the stage and the normals in the crowd. England of course follows, with the shows being shown twice daily and Jerry Springer a household name. The chattering classes here respond in the same way as over there and the smug comfort of being somehow better than the guests is universal. And of course the watering down of real issues to palatable bite size chunks. The show's desensitisation of the average viewer, the sugar coating on every media we gorge ourselves on makes everything so much easier to deal with. The little pastiches of human feelings shown under 100 watt bulbs dehumanises it all, takes away the responsibility. So everything's reduced to candy coated portions of mockery of the outside world. We can watch and be amused rather than actually think about what we've seen, absorbing rather than opposing the immoral and hurtful. And to add insult we see a formerly eloquent spokesperson for civil liberties issuing fluffy final thoughts that ignore any purposeful message and that fall on deaf ears anyway. Jerry Springer offers an insight into the culture in which we live, but at an abstract level is more of a social commentary than any of it's forgettable guests. ---- Chris Evans is taking over.... by Andy-quirk So what is he? Everyone's favourite ginger funnyman? Or something a whole lot more sinister. The career trajectory of the ginger wonder has surpassed the expectations of all his critics but with increased power has come increased corruption within the man and his company. It all started gloriously enough on The Big Breakfast where Chris was one of the main reasons that channel four finally made an indent into the weekday morning viewing figures. The seemingly spontaneous wisecracks and madcap action made Chris a very popular man and soon he had his own show, Don't Forget Your Toothbrush. The show did fairly well and succeeded in entertaining a great diversity of people. Chris was set to become the credible Shane Richey. When TFI Friday began broadcasting the control and power Chris was feeling was coming to a front. As the series have progressed Chris has steadily become more demanding, more arrogant, and less funny. His stint at Radio 1 was a blessing for the station as Chris's mass market appeal worked well on the breakfast show. It could be argued that this was due to the lower level of pressure he was under. After all, the BBC was one thing he couldn't buy and control. Once he was sacked for wanting Fridays off Chris pushed his energy back into TFI. The latest series of TFI has shown a considerable downturn in quality. Now packed to the brim with lad culture Chris (accidentally or otherwise) makes fun at the expense of race, gender, and sexuality. Talking to Whoopi Goldberg he announced himself as black and gay, his implication being that it was currently trendy to be either of these things. Even his guest gave nervous smiles when he asked her if he had it in him to "be black". The piss poor joke that is "Johnny Boy Revel and his Wheels of Steel" compounded the skin deep pretence of political correctness when he made a comment about someone who he thought was gay by suggesting they tested their "straightness" with a spirit level. The ugly side of new laddism is rearing it's ugly head more and more often. With the control of both a tv show and a radio station Chris has real power. When Lodger played TFI they were without their bass player, Danny from Supergrass. The reason being that Ginger Productions had banned Supergrass from it's shows as a response to Supergrass's refusal to record an "it's your letters" type piece for TFI. This ban has been extended further and now Supergrass have mysteriously disappeared from the Virgin radio playlist. As for the breakfast show Chris does for the station it leaves little to be desired. The "jokes" are merely offensive and lad sexism prevails throughout. Hopefully more people will wake up to the threat Chris poses and restrict his attempts to take an even bigger slice of the media pie. If the Ginger empire progresses to press he will be a new Rupert Murdoch. -------------- Chatting to Manatee by Andy-quirk. July 1998 I'm sitting cross legged on a pavement in a side street in Camden. It's a warm Friday evening and the All Saints of indie pop are sat with me. Formed for just over a year the female London four piece have been playing gigs all over the city. As the people drinking pints on the picnic tables across the street look on at the scene I click my dictaphone on and we begin. Andy: Lets do the introductions then. Leah: Excuse me while I put on my make-up, I'm Leah and I'm the vocalist. I have a make-up tip, always put on matt makeup base before you put on your foundation because it's more smooth. It's also less shiney. Nikki: I'm Nikki and I'm the bassist, and, like, backing vocals. Selmin: I'm Selmin and I play the guitar and also do backing vocals. Aliah: I'm Aliah and I play the drums... Leah: ...and we're stoned...! Which we shouldn't be. Andy: Okay, I'm going to... (chaos erupts as a fly dive-bombs Leah and minutes are spent removing the debris from her newly foundatoined face....) Nikki: I really need some water, but anyway... Andy: Here we go again, with an average age of sixteen do you feel disadvantaged in any way? Nikki: It's so much better! Selmin: I feel so advantaged! Leah: There is one problem in that people might not take us seriously. Nikki: There's a lack of credibility going on. Leah: When I rang up the other band we were supporting, yeah, and I was speaking to him on the phone he asked what we were like. I said we were girl pop, indie. Actually, I didn't mention "girl" I just said guitar pop indie alternative. He was like "so you're a girl band eh!". He just knew from my voice. Nikki: Errr, that's 'cos you're a girl! Leah: But anyway, I think we're still advantaged. Nikki: When we play our gigs we see all these old men. It's like, how much better a chance do we have. They're like "your crap at your instruments, but you're girls". And we're young. Andy: But is it difficult to get equipment around and stuff like that? Leah: Just borrow everyone else's. Nikki: That's what parents are for! Andy: Are any of your parents here tonight? Selmin: Leah's mother always comes. Leah: The really cool thing about my mum is that she comes because she thinks we're quite good. Nikki: And she criticises. Leah: Everytime going home it's like "you should watch my Lisa Manelli video"! Selmin: Nikki, does your mum like us? Nikki: Yes, but she's kind of like "don't let it interfere with your school work". But I'm like "I'm going to get three A's in my a-levels anyway". (laughter follows at this statement of confidence!) Nikki: False modesty is a bit crap. Selmin: A-levels are more difficult than anything else. Andy: Try a degree sometime... Nikki: Well, I've passed one already. Andy: So you're doing gigs through your exams? Nikki: Yeah Andy: Wow, rock n' roll! (laughter and much giggling later...) Andy: At the moment girl bands are very trendy, everything from Period Pains to Kenickie. Nikki: (drearily chants) girl power, girl power. Andy: Do you think it could soon become unfashionable? Leah: Well, Symposium eh? Nikki: But they're not girls! Leah: But they were the "youth scene" and look at them now. Nikki: I can see that happening at some point in time, the whole Spice Girls thing. But then soon enough people will form girl bands just to be ironic. First it's going to be cool to be a girl band, then it's going to be sad, then it's going to be cool again because it's sad to be a girl band. Andy: Right, musical question. "Cynical Obsessed" (see demo reviews for a copy of the tape) seems a little bit disillusioned with the music scene in general, is this an opinion of yours? Nikki: Ummm (giggling breaks out again!) Nikki: I just have to point out something. When I wrote those lyrics, well umm, I wouldn't count myself as a lyricist. My lyrics don't make sense! They're kind of like a brainstorm. It is a bit disillusioned. Leah: I've got something to say. Nikki: It's not just about the music scene, it's people in general. Leah: Well, she wrote the words and I found a meaning afterwards(!). It's about how someone will always be better than you. Like Michael Jackson, someone must be better than him. Hang on, bad example! Nikki: Okay, well I know this person who's a bit obsessed with being the best. Basically I think everyone's a bit like that. Everyone wants to be the best. I just think it's important to know there will always be someone better than you. So you might as well just think "fuck it"! Leah: Selmin, what were you going to say. Selmin: I've forgotten now. Andy: Some of your songs, including "Cynical Obsessed", have short guitar solo's and breaks. Do you see a place for guitar solo's? Selmin: If you've got a good guitarist you can afford to do solo's. I'm not an amazing guitarist though, I can't do the twiddly twiddly thing. Nikki: Eventually it gets a bit boring. Andy: So when does it turn from wonder to wank? Leah: Wonder to wank, I like that! Nikki: There were loads of bands in the eighties who did guitar twiddly bits. In the end it just becomes, like, "we know you're good, just shut up now"! Selmin: Twiddling is for the bedroom. Andy: What is "Eight Seconds" about? Leah: Oh my god! We wrote this one together! (cheering from all!) Nikki: Basically we were all sitting in Nina's attic, who's now left. We were just talking and stuff. I had just read somewhere that if you looked at a star it was like looking back in time. It takes eight seconds for the light to reach here. We found that quite an inspiration. Leah: The words are about... Nikki: Helen, who's a goth. Selmin: Well, not really. Leah: She's just different. It's actually about a boy I know called Sam. He does things, just because it's "cool". And like how we're saying all this because it's "cool". When you look at the words it's like "I take Strepsils and play games with your psyche". It's like "oh my god I've got to have Strepsils to make me high"! Nikki: And taking cocaine. It's all such a clichŽ. (at this point the thought did cross my mind to say "heroin is so passŽ" but by that time the conversation had moved on...) Nikki: Which side of this thing (the dictaphone) is recording our voices? (Nikki then starts to make noises at all the places on the machine that could be the microphone - this has to be heard to be believed!) Andy: Something that makes you more unique as a band is that you sing in harmonies. Nikki: We like that fact. Andy: Have you taken singing lessons? Selmin: I take singing lessons, but I'm not the singer! Nikki: I've not had a singing lesson in my entire life. The way we sing in harmonies is one of our trade marks. We may as well do it. It's only because we're girls, and it sounds good. Leah: I've got a story. I had one singing lesson with Peppi Lemur, who trained the Spice Girls. She asked me to look in the mirror and stare at myself. I was already quite wary because I can't stand to look at myself when I'm singing. She then told me to go (scale climb follows). Everytime I looked away she would go "NO! Look at your face!". She was holding me back while I was going "Hey!". Then I had to go "wow, wooo, yow!". Nikki: That was quite cool. Leah: Maybe we should do that at the start of "Neurotic"! (singing follows) Andy: You should be a vocal harmony group! Leah: We'll do one for the tape at the end. Andy: Okay. Anyway, you might not like this, I can see a strong Lush influence in your style. Nikki: That's really good, but if you said Kenickie I would have had to slap you! Lush, that's really cool and you know what yeah, she's half Japanese and so am I. Leah: And she went to my cousin's school! Selmin: And her name's Micki and her name's Nikki! Andy: Have you sent your demo out to record companies or do you want to gather momentum by playing lots of gigs first? Nikki: We haven't sent it to anyone, it's just for friends. Selmin: I think we should learn how to play live really well first. Nikki: If we start to do the whole record company thing now it would be kind of stupid. It would be like "you can't play your instruments so why should we sign you?". Leah: Excuse me! Right, everyone's saying that we can't play our instruments but I want you to know we can! Aliah is the most amazing drummer in the entire world! All: (singing) Aliah is god, Aliah is god, Aliah is god (repeats some more eventually breaking out into a vocal harmony!). Andy: This is your first interview, are any of you particularly into the fanzine scene? Nikki: Selmin, I accuse you of that fact! Selmin: I write some funny bits for "Cult Of The Bus Stop". Leah: I'm starting my own fanzine, it'll be out in September and have interviews with Stony Sleep and Magoo. Andy: Do you have a favourite fanzine? Leah: I liked Abuse when I read it. Selmin: I like Abuse, I like ChaChaCha. Leah: And I like quirk! quirk is my favourite! Andy: If you were going to do a cover version what would it be? Nikki: Elastica. Leah: No no no! It would be Dream A Little Dream Of Me (harmonious singing breaks out). Andy: Last question, have you got any words of wisdom that you live by and think others should to? Aliah: Carpe Diem. Leah: I've got another one. I lost my passport the day before I was going away at Easter and my mother said I should sit in a dark room and think about where I left it. I sat on a sofa and it was all dark and suddenly I saw this vision of a denim jacket. I ran upstairs and it was there in one of the pockets! Selmin: Don't eat yellow snow! Leah: As said by Robbie Williams. My love. Nikki: Fat love! Leah: Let's do the harmony. Nikki: I've just realised that the only thing Aliah has said in this interview is "carpe diem", which is really profound but... Andy: It just reinforces the old drummer stereotype. Aliah: I just sit and play the drums. (after watching Leah apply her lipstick in a way described by her band mates as "like the joker" Manatee break out into a vocal harmony of Dream Dream Dream, it is amazing!) This concludes the interview. At the time Manatee were looking for a new name (at the request of their ex-drummer). The most popular suggestion was All Indie Boys Look The Same. Manatee can be contacted at: Manatee c/o Leah, 6 Fallowfield, Stanmore, Mddx, HA7 3DF. Their demo and gig are reviewed elsewhere in this issue. Other amazing Manatee facts Their favourite gig was at the Hope and Anchor on the 21st March. There was feedback from both amps and when Nikki and Selmin held hands it stopped, it made them happy! Their favourite bands include Elastica, Stony Sleep, Blur, Suede, Primal Scream, Garbage, Rachel Stamp, Jocasta, and Hyperfuzz (who go to the same school as them). They formed to make friends and influence people. Their future plans involve Leah and Selmin wanting to be pop stars while Nikki wants to be a barrister! They would love to play Reading Festival. ------------------------------------------------------------------------ Chaos with Cheetara by Andy-quirk. July 1998 Their fingers may still hurt simply from playing their instruments but the Spice Girls of indiepop already have 2 gigs to their name (and at least 4 by the time you read this) and are getting better all the time. Playing to a small crowd of hard-core fans (two of them wearing Cheetara t-shirts) upstairs at the Garage I interviewed them in the backroom with a large gang of hanger-onners and professional liggers drinking cheap vodka and comparing nail varnish. Andy: Okay girls, what are your names and what do you do? Claire: I'm Claire and I play bass. Carly: I'm Carly and I'm the lead singer. Alice: I'm Alice, and I play guitar. Genette: I'm Genette and I play drums. Jasmine: I'm Jasmine and I play keyboards. Michelle: Michelle, guitar and general slut! Andy: 6 girls in this band aged 16 or 17, do you see yourselves as a bit of a gang on a crusade against pop music? Alice: Oh, we like pop music - I have a Spice Girls badge and bag and sticker! Claire: We're a big gang, we'll beat anyone up! Alice: We like pop music but we're on a crusade against it anyway. Claire: We're permenantly up for it! Errr, for a fight not.... Alice: Don't write that down! (sorry! - Andy) James (from ChaChaCha 'zine): Tell us about strap-ons. Alice: No, it's too crude, shut up! Andy: You're very glittery and dressed up tonight, do you see image as really important? All: Yes. Claire: But we're not obsessed with image. Genette: We're not vain. Alice: We can sort of play loosely! Claire: We do kind of play. Andy: Is it a case of image over content? (Andy treads the dangerous ground...) Alice: No!... We know the image and now we're working on the content. Andy: Do you think that managers and promoters have been interested in you because of the way you look rather than how you sound? All: Yes! Genette: Before we even played there were loads of people interested. Claire: We turn up as six girls in fishnets and they're like, "Whoah, play here!". Andy: Does it bother you then? Alice: It insults... no it doesn't actually! Claire: We love it! Alice: We like to think they see our musical genius (starts laughing). We were alright wern't we? We wern't that bad? Andy: You were pretty good. Dan (from Anomic): Do you use guitar tuners?! Alice: Oh ha ha ha. Jasmine: Pint over your head in a minute! Claire: Isn't this cool, we've got three dictaphones being waved at us! (the people attatched to these machines being James Cha, Alex Cr@p, and me). James: Why is the singer so quiet? Alice: 'Cos the sound's shit in this venue. James: No no, I mean now! Carly: Alice is so loud! Genette: You can't drown Alice out! Andy: Alice, as you have a lot to say, there's a bit of a media backlash going on against glittery bands. Do you think Cheetara can change that? Alice: The NME are bastards, but the Melody Maker is better. Dan: I'm really drunk and i'm crap. Alice: I really like Smash Hits. You get stickers. Claire: I'd just like to say we'd like to promote the Demi-Gods because they're wonderful. Random bloke from the Demi-Gods: We get off with each other for a fiver. Well, maybe not. Andy: As an all girl band are there other all girl bands you like or dislike? Alice: We like Vyvyan. Claire: We don't dislike people in bands. Michelle: I like The Nolans, I respect the one who married Shane Richey! Alice: We like The Spice Girls. But we don't like All Saints. Claire: The All Saints do the shoulder shuffle on Top Of The Pops. It's crap! Alice: We like Kenickie, even though they're not really an all girl band. Claire: I like Lauren Laverne if you know what I mean... Andy: Who writes the songs? Claire: Mainly Michelle and Alice, but I contribute. Andy: Who wrote "VIP"? Alice: That's me! (Much clapping from the other members!) Andy: "VIP" is about wanting to be famous, do you think Cheetara can take you that far? Alice: We are famous! We feel famous anyway. When we've played a lunchtime slot on Radio 1 we'll be really famous. We're on telly on Tuesday. Claire: There is no justice in the world when Hurricane#1 exist. James: Pink Ladies really suck! Andy: So how would you define a very important person? Alice: Someone who I respect, like Nicky Wire. Being a VIP is how you want it to be when you're famous - it might not be true but it's something to think about. Andy: Can you be a VIP without being a public figure? Alice: No! If people don't recognise you in the street you're not a VIP. Andy: Who wrote the song with the chorus "Angels sin a parody, good way of describing me". Alice: That's me! Andy: Those words rhyme and they sound good in the song, but what do they actually mean? Alice: I actually got it from a book I'm doing in English called "The Changling" but actually it's about how when you're with your parents you're one thing and when you're with your friends you're other things. But that's so boring and arse I'm not going to talk about it. Andy: Dan, are you drunk? You've only had quarter of a pint! Dan: (garbled drunk old man voice...) Andy: Claire, what do you hope to acheive this year? Claire: I'd like to sleep with Johnny Menswear among other people on a very long list. I think we'd like to be very famous so we can donate money to... Andy: Poor bands? Claire: Yeah. Andy: Like yourselves... Claire: Yes.. Oi! Andy: Did you get paid for this gig? Alice: No. Andy: Does this mean that club Rampage rips people off? Alice: Yes! The second part of the interview took place later in the girl's toilets in a bid to escape the trail of followers and groupies... Andy: How do you think your gig went tonight, honestly? Genette: I'm really dissappointed. Alice: I thought it went quite good. Apart from the fact I kept dropping my plectrum. Michelle: It didn't sound like I wanted it to. It sounded horrible! Alice: Better than last time though. Claire: Definately better than last time. We were shit last time, and we were less shit this time. But we're still shit. We can only get better! Andy: Are you dissappointed at the lack of people who turned up tonight? Claire: Loads of people we know should have come, but they're bastards! I mean why do people take flyers and not use them? Andy: Do you know how many flyers came in tonight? Alice: It doesn't matter 'cos we're not getting paid. RAMPAGE RIP YOU OFF! Claire: They're arseholes. Andy: There were rumours that a journalist from the Melody Maker was interested in you. Alice: Daniel Booth. He's a very nice bloke but he didn't come tonight. We've divorced him. Claire: Does it suprise you lots of people are scared of us? Andy: I guess music journo's are used to talking to male twenty-somethings about "good good people". You're different. Alice: I was in that Embrace video! Andy: How long have you been into the underground music scene here? Alice: About two weeks! Really, the first gig I came to was Stony Sleep in January. Andy: Didn't you have another band before Cheetara? Alice: Errr, yeah but we're not talking about that, how do you know these things?! Andy: Where do you practice? Alice: Genette's house, we salute her parents for that. It's a terrace and they don't care what the neighbours say! James: Wasn't there a rumour someone from Neu Resistance Fanzine wanted to marry you? Alice: Richard is a very nice bloke but that's it. And he doesn't want to marry me! Well, he hasn't asked me - I don't know! Michelle: Wouldn't it be nice if someone did ask you to marry them? Andy: Lovely. What inspires you to write your songs? Alice: Sleezy places and sleezy faces. Michelle: The amount of scum holes we've been to... Alice: We know people who pretend they're famous when they're not. Hey, are you coming to our gig on the sixth with Disco Pistol? Mira doesn't like me 'cos I pulled Ben from Stony Sleep and he's her friend. Andy: Do you pull lots of minor league indie stars? Alice: Ben's not famous, he works in Dixons! Andy: How long have you been playing your instruments for? Alice: My fingers still hurt from playing guitar, I've got blisters! Andy: Is underage drinking with loads of alcohol cool? Alice: No. We don't promote that, although we like it for ourselves! Michelle: There's nothing wrong with a bit of vodka, we've made mistakes in the past but hasn't everyone? Andy: Do you have any ethics or morals as a band when it comes to record deals or politics? Alice: No! Michelle: If the price is right you know. Alice: There's no point trying to stay "indie" at all. Michelle: I want to support Aaron Carter. Alice: I don't want to be in an indie band my whole life, it's such bollocks! We'd support Aaron Carter or Cleopatra, we don't care! Andy: So are Bis, Mogwai, and the Delgadoes short sighted and narrow minded in their choice of label? Alice: Bis did it because they wanted to. Mogwai are just fucking wankers in cardigans who play instrumentals because they think it's intelligent. And I don't like the Delgadoes either. Andy: What do you want to give to the world through your music? Alice: A sense that you can do anything if you try. Even though you (Michelle) said I wasn't playing my guitar! Michelle: I was drunk okay! You dropped your bloody guitar! Alice: I couldn't help that! (Stops shouting) As you can see, as the two guitarists we always argue. And so the interview came to a crashing halt. If you fancy watching six teenage girls play every chord they know in a set usually lasting about fifteen minutes go find them. One of the new songs sounds like Fluffy, you have been warned.