Punk PioneersChicana Alice Bag as a Case in Point

  1. Soraya Alonso Alconada 1
  2. Ángel Chaparro Sainz 1
  1. 1 Universidad del País Vasco/Euskal Herriko Unibertsitatea
    info

    Universidad del País Vasco/Euskal Herriko Unibertsitatea

    Lejona, España

    ROR https://ror.org/000xsnr85

Revista:
Lectora: revista de dones i textualitat

ISSN: 1136-5781

Ano de publicación: 2017

Número: 23

Páxinas: 83-98

Tipo: Artigo

Outras publicacións en: Lectora: revista de dones i textualitat

Resumo

This study aims to present Chicana punk musician Alice Bag as one of the main female figures who exerted a great influence on the early punk scene of Los Angeles, California, and thus helped to pave the way for a wider influx of female musicians within punk and to put some feminist issues at the forefront. By doing so, we will try to broaden the social and cultural understanding of punk music. Both Bag’s autobiography Violence Girl, From East L.A. Rage to Hollywood Stage (2011) and her last LP, self-titled Alice Bag (2016), cover relevant issues related to Chicana women’s condition, thus turning punk into a powerful platform to articulate feminist and ethnic concepts.

Referencias bibliográficas

  • Andrews, Katherine (2017), "Ranchera Music: A Mexican National Symbol", Panoramas: Scholarly Platform, 09/01/2017.
  • Bag, Alice (2011), Violence Girl. East L.A. Rage to Hollywood Stage. A Chicana Punk Story, Port Townsend, Feral House.
  • —(2014), "We Were There: Voices From L.A. Punk's First Wave", Razorcake, 79: n.p.
  • —(2016), Alice Bag, Don Giovanni Records.
  • Blush, Steven (2010), American Hardcore: A Tribal History, Port Townsend, Feral House.
  • Broyles-González, Yolanda (2006), "Ranchera Music(s) and the Legendary Lydia Mendoza: Performing Social Location and Relations", Angie ChabramDernersesian, The Chicana/o Cultural Studies Reader, New York, Routledge: 352-360.
  • Corrigan, Suzy (2007), "Art, Politics and How One Grrrl Joined the Feminist Timeline", Riot Grrrl. Revolution Girl Style Now!, Nadine Monem (ed.), London, Black Dog Publishing: 145-168.
  • Covarrubias, Teresa (2017), "Traigan el Punk del Oeste and Este de L.A. Parte 2", American Sabor, 12/05/2017.
  • Davila, Richard C. (2016), No hay Sólo un Idioma, No hay Sólo una Voz: A Revisionist History of Chicana/os and Latina/os in Punk, Electronic Thesis and Dissertation Repository, University of Western Ontario, Paper 3532.
  • De Fen (2011), "An Interview with Alice Bag: an Original LA Punk Rocker!", Punkglobe, 20/09/2016.
  • Ditto, Beth (2007), "Foreword", Riot Grrrl. Revolution Girl Style Now!, Nadine Modem (ed.), London, Black Dog Publishing: 8-9.
  • Habell-Pallán, Michelle (2012), "Death to Racism and Punk Revisionism: Alice Bag’s Vexing Voice and the Unspeakable Influence of Canción Ranchera on Hollywood Punk", Pop When the World Falls Apart: Music in the Shadow of Doubt, Eric Weisbard (ed.), Durham and London, Duke University Press: 247-270.
  • Johnson, Gaye Theresa (2013), Spaces of Conflict, Sounds of Solidarity: Music, Race, and Spatial Entitlement in Los Angeles, Berkeley and Los Angeles, University of California Press.
  • Lomelí, Francisco A. (1996), "Artes y letras chicanas en la actualidad: Más allá del barrio y las fronteras", Káñina, 20: 10-15.
  • McClary, Susan (2000), "Women and Music on the Verge of the New Millennium", Signs, 25(4): 1283-1286.
  • Moreland, Quinn (2016), "Alice Bag: Alice Bag", Pitchfork, 05/07/2016.
  • Ngô, Fiona I.B. and Elizabeth A. Stinson (2012), "Introduction: Threads and Omissions", Women & Performance: A Journal of Feminist Theory, 22(2-3): 165-171.
  • Nikpour, Golnar (2012), "White Riot: Another Failure…", Maximum Rocknroll, 17/01/2012.
  • Reddington, Helen (2012), The Lost Women of Rock Music. Female Musicians of the Punk Era, Sheffield, Equinox Publishing Ltd.
  • Tully, Gabriela (2016), "Alice Bag — 'He's So Sorry' Video", Stereogum, 07/06/2016.