Thursday, February 21, 2013

Rolling Crones and Old Bags

It's been a few days since the L.A. Zine Fest and the panel discussion I did with Allison Wolfe and Drew Denny,  but I'm still feeling a little giddy about the whole thing. A big part of the fun was having the opportunity to meet these ladies I'd never met before and collaborate with them, even if it was only briefly and on just one song. It was still meaningful and memorable for me. It's always exciting and rejuvenating to work with new people who have fresh ideas and approach creativity from a different perspective, and it's especially thrilling if the new people happen to be smart and talented women.



After reflecting on the experience, I realize that there are a few points I'd like to clarify. During the introduction, the moderator (who did an absolutely wonderful job, by the way) described Allison Wolfe as one of the mothers of the Riot Grrl movement, then started to introduce me in a similar fashion as one of the 'mothers of punk' but stopped herself, perhaps noticing the age difference between me and Allison. She suggested that maybe she should say a 'grandmother of punk,' but I objected. I want to clarify why I object to that label. It's not because of age. I'm 54 years old, I have gray hair and I'm comfortable with my age. I am perfectly happy if you call me a punk rock vieja, an old bag, or a crone (I even wanted to form a band or have a mentoring program for and by older female musicians called 'The Rolling Crones' at one point) but I object to being called a grandmother because I'm not a grandmother.

I have three daughters who are all in school. They're all young women who are very responsible, they behave in a way that I am very proud of, they've taken charge of their sexuality and the fact that they're not mothers is something that I'm happy about. My daughters have chosen to put their studies first at this point in their lives and they're waiting to have children until they're ready. They are exercising their choice, a choice that many of us have been fighting for years to be able to offer them. Another thing is that when I was young, it was quite common for relatives to harass young women about when we would get married and have children. I don't ever want my daughters to feel that pressure. They can marry or stay single for as long as they want, they can have children, adopt, or do neither. And for those reasons I ask you to please feel free to call me old, but please don't call me a granny.

By the way, I want to reiterate that I think K did a great job as moderator and this is in no way meant as a criticism of her!

Another point that needs clarification is that a recent article mentions that when I was in the Bags, I wore a paper bag on my head to escape stereotypes. This is only slightly different from what I said, but it's a significant difference because it deals with intention. In my early L.A. punk band, the Bags, we wore paper bags on our heads primarily for fun, to hide our identities and challenge the audience. They were not worn in a conscious attempt to avoid stereotypes, although that was an unintentional bonus. Creating the bag characters forced our audiences to focus on the music, the bag masks, the performance. We felt like we went in with a clean slate. People didn't know what to expect from us and that was fun and liberating. We also had punk names which were associated with our band; this was something we borrowed from the Ramones. Having a band last name also blurred ethnic identities. Torn thrift store clothing and safety pins were worn by rich and poor alike, further helping to blur class distinctions. Finally, the music was raw and unpolished, which opened the door for many novice musicians.

Part of what made the LA. scene so diverse and open to new ideas was that we focused on what we had in common: the creativity, the desire for innovation. That isn't to say that we didn't value our backgrounds or that we tried to hide them - we did not. We approached our creative community as individuals who didn't feel valued by the mainstream, in many cases we didn't even feel at home in our own hometowns, where many of us were seen as weirdos. We found our tribe in the punk community who valued originality.

During those early years, that was what suited me. Later, I found that in order to continue to fuel my personal growth and creativity, I wanted to dig deeper into my heritage and identity. Other elements of my personal story started to surface in my work and I think I've become a better artist and a more effective communicator because of it.

But I don't want to babble, babble on. Back to the panel. I found the conversation about how each of us had dealt with gropers in the past enlightening. Allison told a story of having a male audience member cup her butt during a performance, only to have the dude checked by the mostly female audience members at her show. I punched a guy who grabbed my crotch. Unfortunately for him, he happened to be wearing glasses that shattered under my fist and sliced his face open. Drew said she tried to deal with sexual intimidation with a sense of humor. I found her reply a little scary but after she explained it, I could see that what she meant is that the ultimate goal of gropers is to intimidate and her approach was to turn the tables. She said she knew it was not for everyone, but I think I'll try it. I'll see if I can come up with a joke while they're taking the groper out on a stretcher!

Sunday, January 27, 2013

Rainy, Blurry LA Weekend

The past two days have been a little like looking at the landscape through the window of a speeding car. I woke up at 5 am last Friday (that's 4 am California time), got my family out the door, walked the dog and drove across the desert through a glum, gray drizzle. I showed up early at The Echo, excited to try on my new role as MC. When the doors opened, people poured in: fashion-forward music fans, lumberjacks and hard-looking punks with sweet, generous dispositions. The 'Help Mike Atta' show was on its way to becoming a big success!

The gray-haired punk brigade was there, many of them turned out to be the parents, relatives or friends of the younger punk bands. It reminded me that the most valuable things we leave behind are the little seeds of inspiration we manage to plant in the young.

I was not feeling particularly inspired that night, running up and down the stairs between the two stages, announcing bands, forgetting names and generally being my most un-charming. I had watched a Kathy Griffin show a few days prior and I thought to myself, "I'm funny - I can do that!" Wrong. I'm funny in a family setting. I've decided to leave the MC profession to other, more charming and witty hosts. I mean, I actually got the first band's name wrong and called them White Light, White Stripes and finally their correct name: White Night. Que verguenza!


A big, huge thank you to all the bands who participated in the Help Mike Atta concert. The amount of respect and cooperation between musicians was lovely to behold, everyone worked as a team and at one point the stage manager smiled at me and said "I can't believe it - we're a little ahead of schedule!" The Echo/Echoplex team was flawless and professional. Special thanks to Lisa Fancher, Liz Garo and Mike Patton who spearheaded the organization of this benefit.


I got home at 2 am, chatted with an old friend until three, woke up and went into the recording studio to work on a project I'm doing with Robert Lopez. Later, I stopped for dinner with my pals, Tracy and Angie Skull and started the gradual shift back down to Arizona speed.

Heading back across the desert, I had several hours to contemplate the beauty of friendship: musicians and artists who come running from all directions to help a friend in need without thinking twice, old friends who open their homes to host me whenever I come to town, friends who come up with spur of the moment creative projects that somehow become reality.

My friends, my hometown, my community. I love you, L.A.

Saturday, January 19, 2013

Mike Atta


If you've ever seen Middle Class play, you know that Mike Atta's guitar playing drives every song and if you've ever met him, you know that you are in the presence of a real charmer. Mike and his Newman-Blue eyes are lady killers and when he smiles, he smiles with his soul.


Mike and I played together in Cambridge Apostles for many years and we became very good friends. I went to many of the Atta family dinners, picnics and poker nights. Although we were very close during the eighties, our paths drifted in different directions and we eventually we lost touch with each other but I've never stopped thinking of Mike as a close friend.



It came as a shock to me when a mutual friend told me that Mike was diagnosed with cancer. The friend told me they were putting together a benefit to help Mike pay for very expensive treatments and I immediately jumped aboard. I hope you will join me and many of Mike's other friends who just happen to be in great bands as we do our best to support Mike and his family in their time of need.



I will be emceeing the benefit concert taking place on Friday, January 25th at the Echoplex. Come pogo and stomp the shit out of cancer!

Sunday, January 06, 2013

La Isla de las Muñecas


The legend goes that the man who created the island of the dolls (La Isla de las Muñecas) was a loner named Don Julian Santana. He was haunted by the ghost of a teenage girl who drowned near his property. The teenager and two other young girls fell out of a boat in Lake Xochimilco. Two of the girls swam to safety, but the third one couldn't swim. No sooner had the two friends made shore than they noticed the third girl was missing. They bravely went back into the murky water to try to save their friend, but they couldn't find her. Frightened, the girls went back for help. That night, Don Julian believed he heard the voice of a girl calling out to him and in the morning he found her lifeless body. After that night, Don Julian was terrified of the ghost of the girl. He began collecting dolls to appease the restless spirit. Every time he went out, he collected more dolls from wherever he could find them; broken and discarded dolls served as well as new ones. The dolls made him feel safer, but only momentarily, as he was required to bring a new doll each time he passed the area where the girl had drowned. He was never completely free of her angry spirit. Don Julian continued to be plagued by her presence for the next fifty years and the dolls satisfied the ghost enough to let him live. Until 2001. That year, he had a heart attack and fell dead into the water at the exact spot where the girl had drowned. And he did NOT live happily ever after. — at Xochimilco.

Saturday, December 29, 2012

Back to Tenochtitlan


Many years ago, some friends and I had gone out to a club in Mexico City to see some of the local bands play in what looked like a big warehouse. The show was fun and we danced, drank and cheered on the bands. After the show we went to a restaurant called VIPs in the Zona Rosa (we later found out locals call it VIPs Gay).  We met two young men and a woman who were also waiting for a table and we all started entertaining ourselves by making snappy comments about passersby. Enjoying our little conspiracy, we quickly became friends with them.

The restaurant was very full  but the hostess informed us that there was a large table available for a bigger group if we were willing to share; we did and it was a really good thing. They introduced us to a dish none of us had ever tried: toasted bolillo rolls topped with refried beans and melted cheese. The dish was called molletes and it was the perfect thing to nibble on after a night of drinking.

After swapping lots of stories and laughs, our friends walked us back to our hotel which was only a few blocks away. We told them we were teachers so they decided to teach us some typical Mexican juegos infantiles. We skipped along the sidewalk of Paseo de la Reforma, a large street modeled after the Champs Élysées from the days when the French ruled Mexico. There was a large space on the sidewalk near some planters where we pulled over to play a game called Matarili-rile-ron.  In the game, we chanted a persons name and that person responded by calling out something he/she wanted, we gave the person a price they had to pay for the wish in the form of a dare (a kiss, a dance, etc) and sealed the deal by giving the wisher a new name. After that, the chant started over again until everyone had a wish, a completed dare and a new name.

I remember this game fondly because when it came time for the group to give me my new moniker, one of my new friends yelled out "Let's call her La Reina de Los Aztecas!" I was so thrilled with the new name that for about a year after that, I signed my name with the extra line La Reina de Los Aztecas. 

On that same trip my cousin gave me a couple of floor-length typical Mexican dresses, so I braided my hair, criss-crossed it above my head and went full metal Mexican. That same year I formed a band with two other Latinas in the style of traditional Mexican trios; we called ourselves Las Tres. We all came from punk rock backgrounds and eventually the traditional Mexican dress got more and more rasquache until we found our way back to punk.

That was one of my favorite trips to Mexico. Tomorrow, I'm going back to Tenochtitlan and I can hardly contain my excitement. I can't wait to see my family, get back in touch with my heritage and maybe grab some molletes at VIPs.


En_Tijuana_1989

Wednesday, October 17, 2012

Moonage Daydream

I had been rehearsing for my upcoming shows in California when I decided to take a little break from my planned set and Moonage Daydream popped into my head, so I decided to record it for you. Here is the little story about how I got to audition for Kim Fowley from my book, Violence Girl. It goes with the song at the bottom of this post.

“I got your number from Rodney Bingenheimer,” the man on the phone began, my ears perking up immediately upon hearing Rodney’s name. “We are holding auditions for an all-girl group, and Rodney told me about your group.”

Yes! Oh Rodney, you wonderful man, you remembered me!

The man was still talking. There was something irritating about his voice; he was not as pleasant or warm as Rodney. I met his gruffness with my own. “Excuse me,” I interrupted. “Who are you?”

“My name is Kim Fowley, I’m a record producer.” I knew who he was. We hadn’t been listening to that Runaways record without doing a little research on them. Fowley was credited with not only helping to assemble the band and co-write the songs but with being a strong force in shaping and promoting
them. He started listing his accomplishments, and I assured him I knew who he was.

“So are you looking for an all-girl band?” I asked, getting a little nervous now that I knew who was on the other side of the phone.

“Not exactly... I’m looking to assemble an all-girl band, similar to the Runaways, and I want to invite you and your band members to the audition.” That didn’t sound as good as I’d hoped, because all of us would have to audition separately. “Rodney tells me you’re a singer,” he continued.

“Yes.”

“Can you sing something for me now?”

Now? Damn it, I had just woken up and I was caught off guard. “What do you want me to sing?”

“Sing whatever you want,” Kim told me. I drew a blank. Which songs did I know the words to?

“I’m an alligator…” the song came out of my mouth before I had a chance to weigh my options. I sang halfway through David Bowie’s “Moonage Daydream” before Kim stopped me.

“That’s fine,” he said. “Come on down to the auditions so that I can see what you look like, and bring the other girls."


The Network Awesome Interview (Excerpt)


NAmag: How did you get started in music?
Alicia Velasquez: Music has been a part of my life for as long as I can remember. My father's Mexican rancheras and my sister's soul music were the soundtrack of my childhood. In school, the music teacher Miss Yonkers noticed that I could sing and singled me out when she needed help. She assigned a portion of the class to follow me when teaching two-part harmony or when we sang in rounds. I was still in elementary school when I got my first job singing for bilingual cartoons, so I thought of myself as a singer from a very early age.
NAmag: Like probably a lot of people, I was introduced to your music when I saw The Decline of Western Civilization in the early 80s. Your music really stood out against the other bands in the film, being very iconoclastic and hard to pin down, at least for me, being a teenager growing up in Billings, Montana. What were your musical goals at the time? Do you have any specific memories regarding the film? I understand there are full-set recordings from the shoot-- is anyone trying to find/release them?
AV: The Bags' performance in The Decline of Western Civilization documents a time when the band itself was in decline. We were pulling in different directions and had just had a major falling out with founding member Patricia Morrison. It's no wonder that you have a hard time figuring out what we were going after, I think we were having the same issue. By the time the film was released, the band itself had broken up. I couldn't watch the Decline for many years because I didn't think it had captured the band at its best, but I'm over that now. I think despite the band's struggle, you can still see some of its good qualities and the film had a tremendously positive effect on many people. I ran into Penelope Spheeris a few years ago and she mentioned releasing a Decline DVD, possibly with additional footage but I haven't seen it.
NAmag: We are running a Bags performance from 1978 that is pretty fiery and aggressive-- do you remember this show specifically or why it was video taped? What was the general reaction to the band live? Were you supported in LA?
AV: This particular show is at The Troubadour in West Hollywood. It was the first time that the Troubadour, a club accustomed to hosting “soft rock” opened its doors to punk. Aside from that, the thing that sets this show apart is that it’s part of a bigger story which has come to be known as the “Trashing of the Troubadour.” It was during this show that my boyfriend (and our drummer at the time) got into a fight with the singer Tom Waits, who was in the audience. It’s a long story. The mayhem resulted in punk being banned from the Troubadour for a couple of years. It was a rough show but certainly not the rowdiest crowd or performance for the Bags. We had a reputation for wild shows and between us and the Germs, we probably had the most out of control audiences of the early punk scene. This particular show was videotaped for a student documentary about the LA punk scene. Clips from it surface from time to time but as far as I know, it has never been officially released.
I don't know if this answers your question. The Bags were very popular in L.A. We could play a club twice in one night and sell it out both times but aside from that we were all part of a growing yet intimate punk community. We all went to each other's shows and supported each other.
NAmag: Seeing as this is part of our "Women in Punk" week, what do you think the legacy of female artists from the first wave of punk is in 2011?
AV: You're having Women in Punk week? I think you need 52 of those!
The legacy of punk is not determined by gender. Any legacy that punk has left behind is as much due to women's contributions as it is to men's. The DIY ethic, the challenge to the status quo, the confidence to pick up an instrument, a paintbrush, a camera or any other tool that you have not been trained to use and to discover your power for yourself without feeling intimidated are all part of having a punk attitude. I see punk attitude in the women of Saudi Arabia who recently got in the driver’s seat of their cars to challenge that country’s restriction on women driving. I see the legacy of punk in hacker groups like Anonymous who target corrupt governments and corporations. The legacy of punk is not in its musical style, it’s having the audacity to actively participate in shaping our world.
NAmag: Indeed. The music industry has changed significantly in recent years, especially in terms of distribution-- do you see any emerging opportunities women should take advantage of? Do you think it is easier for young women to get started in music today?
AV: Yes, I do think it's easier in some ways but more difficult in others. It seems that anyone can produce a recording and sell it on the Internet but I think it's difficult to build an audience without first creating a community. A community is a powerful support system. Without it, an individual artist can get lost in a sea of talented individuals.
Excerpts from a 2011 interview, full interview published here: http://networkawesome.com/mag/article/an-interview-with-alice-bag/

Sunday, August 19, 2012

12 Questions


1. What is your hometown?
Los Angeles, East L.A.
2. With what fictional character do you most identify?
It would have to be a mashup of Kara “Starbuck” Thrace from Battlestar Galactica and Jane Eyre. Kara Thrace was a badass but seriously fucked up. Jane Eyre grew up poor and disenfranchised but she was never humbled; adversity made her strong and resilient. I love and can closely identify with both characters.
3. In the movie of your life, cast an actor to play you.
That’s a tough one because ideally I’d want to have a Latina play me but when I saw Charlize Theron in Monster, I thought I could see a bit of myself on the screen – there was real rage in her performance. I haven’t seen many performances like that, so a Latina who can bring that kind of believable rage to the screen would be perfect.
4. What work of art speaks to your soul?
Christina’s World by Andrew Wyeth. I know it’s a painting of a woman who had polio or something like that but I didn’t know that when I first saw it and to me, she just looked like a woman trying to crawl her way home. I sensed determination, longing and isolation in her and while I saw a long, labored path ahead of her, I could imagine her eventually making it home. 
5. What books are you currently reading or recommending?
The Bluest Eye by Toni Morrison and Cunt by Inga Muscio.
6. What song or album is currently in heavy rotation on your iPod?
I haven’t been playing my ipod lately. I have a bunch of records, tapes and CDs that I’ve acquired on my travels. Now that I’m home, I’m catching up on the music of some of the local bands from the cities I’ve toured. Lately, I’ve been listening to a band from Tucson called Clusterfuck.
7. What’s the last movie that made you cry?
It’s a little embarrassing but it’s an animated Pixar movie called Brave. My daughter asked me to see it with her. The movie deals with a young woman’s struggle for independence from her parents, especially her mother. It’s about the evolution of the mother/daughter relationship. My daughter and I are in the midst of that journey and we’ve hit some major potholes along the way but when my kid reached over in the darkened movie theater and squeezed my hand, I went all weepy.
8. Cat person or dog person?
Dog person. I have a rescue mutt named Cinnamon and she’s a loving, loyal companion. I’m allergic to cats.
9. What is more important, truth or kindness?
In serious matters, truth; in trivial ones, kindness. Even in trivial matters I’m uncomfortable lying but I sometimes redirect to avoid needlessly hurting someone. I don’t lie to avoid responsibility, I think it’s cowardly to do so.
10. How do you define sin?
Since I see myself as part of God, I would say that violating my own integrity would be a sin. A sin is when my actions and beliefs are out of sync.
11. How do you define virtue?
Virtue is subjective; I define it as acting in accordance with your values but only if your values align with mine. I’ll take integrity over virtue any day. People who simply follow the rules determined by culture or society can be defined as virtuous without ever having to do any deep soul-searching as to what is right or wrong, whereas integrity requires you to live your life based on your own set of beliefs and the knowledge that you have available to you. Integrity requires you to take the driver’s seat, making choices about your life, shaping who you become and shaping the world around you.
12. Design your headstone: What does it say? What does it look like?
I don’t care about a headstone but when I was younger and enamored with all things Egyptian I wanted to be mummified and placed in a sarcophagus. I imagine that a sarcophagus with a large piece of glass resting on top would make a lovely coffee table. Then I could be in my family’s living room in the middle of all the action.
Bonus Question: Who would you like to see answer these questions?
Vaginal Davis – she can school you and make you laugh at the same time.


A repost of the  original 12 Questions with Alice Bag, which appeared here:  http://12questions.us/2012/07/23/alice-bag/

Wednesday, August 15, 2012

Olympians and Other Heroes

Now that the London Olympics have concluded and school is back in session, I find myself basking in the afterglow of the empowering bonding experience that the Games provided for me and my daughter. I also have time to ponder the significance of the increased participation of women.
For two weeks, my daughter and I made a daily habit of selecting a few events to watch from the hours and hours of Olympic programming we’d recorded. “What shall we watch today?” I asked one day, to which she responded, “I like watching the events with women in them.”  I smiled inwardly, thinking that I felt the very same way. My husband jokingly accused us of watching swimming events to ogle the scantily clad male swimmers but those events were really not the main attraction. It was much more interesting to watch women who had pursued their dreams and reached the height of excellence in their chosen sport. It was inspiring. 
I am not, by any stretch of the imagination, athletic but I know how to swim, I’ve played volleyball before and I can (or maybe could) do a pretty good cartwheel. Suddenly, I could imagine myself on the U.S volleyball team, or swimming a lap in a relay or doing cartwheels while twirling a ribbon around. I know my daughter had the same experience because on the days when rhythmic gymnastics were on TV,  I had to take a circuitous route through the den to avoid bumping into her as she worked her way across the room, hula-hooping, or throwing and catching a small ball in imitation of the gymnasts.
It was exciting to learn that this was the first year in which every country participating had sent females athletes to compete; we felt like we were witnessing history in the making and in fact, we were. We watched Sarah Attar of Saudi Arabia wear traditional Muslim head covering during her race.  She proudly represented her country; her presence there not only helped to dispel myths about women and Muslims, it also prompted the TV commentator to point out that Saudi Arabia is a country which still denies women the right to drive. Like many people who followed  #Women2Drive on Twitter, I was already aware of their struggle but for millions of TV watchers this was new information. Perhaps the dissemination of that information will gain Saudi women additional supporters and expedite their inevitable triumph. Maybe that’s why it took so long for Saudi Arabia to send female athletes. Perhaps it was this very thing they feared:  the Olympic spotlight can bring glory to a country but it can also attract scrutiny.
At the Beijing Olympics, the Chinese government did not escape the scrutiny of human rights advocates. Although the IOC asks host countries to remedy human rights violations,  it is the public who must ultimately monitor and exert political and economic pressure on those who do not comply. I wonder how Russia will fare under that type of scrutiny as they prepare to welcome the world to Sochi for the 2014 Winter Olympics? I wonder if Putin has given any thought to how his country and his administration will be perceived by the world if they choose to suppress dissenting views with trials that make the Russian judicial system the laughing stock of the rational world - why else would the judge in the Pussy Riot trial feel compelled to prohibit laughing? It would be funny if it weren’t so sad because these young women are being tried by what might as well be called the Russian Inquisition. 
Get ready for your close up, Mr. Putin.

Tuesday, August 14, 2012

The Cosmo Girl - Helen Gurley Brown

“Are you a Good Lover?”
“Ten Raging Sexual Fantasies”
“What Real Orgasms Feel Like”
“Facts and Fallacies about Love-Making”

These are just a few of the articles that were featured in Cosmopolitan when I was growing up during the 1960's. This magazine and the views of its editor, Helen Gurley Brown, would profoundly shape my views on sexuality and the rights of women.

Even though the Catholic Church opposed any artificial method of birth control, thanks to the Pill, many Catholic women were enjoying sex without the worry of an undesired pregnancy. I hoped to one day be one of them; unfortunately, with my hormones raging and my thirst for sexual knowledge growing, I was living in an information desert. My mother couldn’t even name any body part below the waist and above the thighs. She simply used the expression "down there" as in, “Do you have cramps, down there?” The idea of my mom explaining anything about sex was unimaginable. At school, even the progressive nuns avoided the subject. All I had was my rock magazines, where rock stars sometimes mentioned a sexual escapade in passing, and Cosmo, where you could read a whole article written by what I imagined were sophisticated, sexually liberated women.

The more I read Cosmopolitan, the more I understood that everything I knew was wrong. I had grown up with the message from my community, church, television and movies that nice girls waited to have sex until after marriage. Despite the fact that my mother was eight months pregnant with me when she married my father, she had told me that virginity was important. It was different for her because she had been married before and had children from a previous marriage. I’m not sure what she meant by that, but I gathered that sex was like smoking marijuana: once you tried it, you became addicted.

My mother sent out some confusing messages. When I decided that I wanted to switch from sanitary pads to tampons, she became alarmed. “Tampons are only for married women,” she warned, “you will damage yourself if you try to use them.” That scared me for a long time. Virginity, as my mother defined it, had everything to do with having an immaculate hymen. A girl without a hymen was simply not marriage material unless she was a widow, like my mom had been when she met my dad, and then — woo-hoo! — everything was okay.

Cosmo filled in the gaps in my sexual education. Helen Gurley Brown, editor-in-chief of Cosmopolitan, had made her mark in a post-pill world as the author of the bestselling book, Sex and the Single Girl. Even the title was scandalous! The book’s main character is a sexually liberated, single woman who many people believed was based on Helen herself. If you were to pick this book up today, some of the passages might seem dated, but to appreciate a cultural phenomenon, you have to try to understand it in the context in which it occurred. Helen was a maverick who ensured that her readers had up-to-date information about the little-discussed subject of female sexuality, and she provided women with the inspiration to advocate for themselves in the bedroom as well as in the workplace.

It was from Cosmo that I first learned what an orgasm was, what oral sex was, and much, much more. It was from reading Cosmo that I finally came to understand that touching myself down there had a name; it was masturbation, and no, I wouldn’t go to hell for doing it; in fact it was common, normal and…hallelujah, I had permission to do it again! I guess Cosmopolitan may have also been responsible for my increased interest in sex and in losing my virginity. It had taught me that sex and marriage didn’t necessarily have to go together, and, if I understood correctly, that meant there was no reason to marry for a long, long time. It made me question the double standard which labels a sexually active man “a stud” and a sexually active woman “a whore.” I remember, later in life, one guy telling me, “I won’t think less of you if you sleep with me on the first date,” to which I replied, “I won’t think less of you, either.” The nerve, assuming that I needed his approval to do what I wanted to do.

I thought my definition of promiscuity around that time was very progressive. It had less to do with the number of sexual partners you had and everything to do with your reasons for sleeping with people. I don’t know if it had been influenced by a Cosmopolitan article, or if I finally just synthesized Cosmo’s values. In my book, a woman could have as many different sex partners as she wanted without necessarily being promiscuous, because women are different and have a wide range of sexual appetites; however, sleeping with someone as a means to get something other than sexual pleasure seemed like promiscuity to me, because it meant you were not motivated by an honest desire for sex but were having sex because you felt there was no better way to get what you were really after. This bothered me, mostly because I’d known so many girls who had been looking for a love relationship and thought they could get it by giving in to a sexual relationship that they didn’t want. That, to me, seemed promiscuous. I wished they’d read Cosmo.

Over the years, my views have changed but I think Helen Gurley Brown would still approve. I don’t label people “promiscuous” anymore, even if they want something other than sex from sexual encounters. I just think of the word as a term by which society tries to regulate and suppress human sexuality.

- An excerpt from Violence Girl, by Alice Bag

For Helen Gurley Brown 1922 – 2012