Volume 2-2012



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Learning from Jimmy Iovine

Interscope Records CEO Jimmy Iovine was featured in a recent piece in Rolling Stone, and it was one of those rare celebrity interviews that actually yield insight and useful information for people interested in music production and engineering. READ MORE...

On Selling Songs Through TAXI

Occasionally, as an amateur songwriter, I will open the account I have with TAXI, the Web-based Artists & Repertoire service, check out the listings, usually for those calling for Film & TV soundtrack music, and if I have something that seems like a possible match I will upload an MP3 mix and submit it for consideration. I never get anywhere with this past-time... READ MORE...



(Click here)

New Releases on RARadio: "Last Call" by Jay; "Darkness" by Leonard Cohen; "Sweetbread" by Simian Mobile Disco and "Keep You" from Actress off the Chronicle movie soundtrack; "Goodbye to Love" from October Dawn; Trouble in Mind 2011 label sampler; Black Box Revelation Live on Minnesota Public Radio; Apteka "Striking Violet"; Mikal Cronin's "Apathy" and "Get Along"; Dana deChaby's progressive rock




"The Musical Meccas of the World"









Original Musical Compositions and Select Covers

Fiction and Non-Fiction

Special Projects







This edition we spotlight free styling Lucid Nation punk rocker TAMRA SPIVEY.  

One would be hard-pressed to find a subject more engaged than this "native Angeleno." Tamra grew up in Sun Valley, in the L.A. basin, daughter of a Marine who wasn't particularly engaged in his youngest off-spring's fascinations, which included music and art and trying to find some avenue out of the pedestrian life that had been imagined for her. She "found herself" with the advent of the riot grrl underground feminist punk movement of the 1990s. With poet-rocker Ronnie Pontiac, Tamra formed a band called Cat Cult, which morphed into Lucid Nation. The band began playing L.A.'s art district, opening for established feminist punk acts like Bikini Kill and Team Dresch, and played a series of Riot Grrl conferences around the country.

In 2002, Lucid Nation's "Tacoma Ballet" reached #1 on college radio charts, fueled by Tamra's incendiary free style poetry, calling to mind the Patti Smith revolution of the '70s. When reps from the corporate music machine came calling, however, they ran into someone quite different from the success-hungry pop culture wannabes they were accustomed to seducing. Tamra Spivey refused to exploit her commercial possibilities and instead opted to focus on art uncompromised by commercial considerations, and on the potential of the Internet for promoting the causes that are dear to her.  She devoted herself to anti-corporate rock and to her surreal  sculpture and gel artworks, and she became senior editor of Newtopia Magazine, the Chicago-based journal of progressive politics.

While recording steadily with Lucid Nation and doing instrumental recordings with members of Mecca Normal, Tamra emerged as a force in the art world. After a one woman show for the opening of Oren Gallery in Venice, California, she was selected as one of eight artists, from around the world, to be featured in the French national media for the opening of France's first on-line art gallery. The European ARTE channel featured her in 1998 as one of three female artists in an hour-long documentary on underground art. Tamra, however, did not adjust her rebel stance, not even for that creative community. She told Newtopia art critic Kevin Charles - "I don't live like an artist. I don't shmooze with other artists at the artist parties; I don't have a rolodex of gallery owner's names. I hardly ever go into galleries. I prefer museums."

This edition, is honored to spend a little time with this most engaged and most fascinating contrarian. - RAR

Tamra Spivey's Art - Kevin Charles, of Newtopia Magazine, "a journal of the new counterculture," wrote the description above of "Heidi Doe," as well as the following descriptions of Tamra's evolving artwork.
"Autopsy Stamp Mandalas"

...takes us step by step through an exploration of confrontation with death. Beginning with boards dominated by the color black, with titles like "Pure Mammalian Fear" the series evolves until the anxiety of mortality dissolves in the experience of, as one work is titled: "Diversified Consciousness Collected into One Source." Black lit with day glo works give way to more delicately colored pieces with gold used generously on white backgrounds. The series ends with the title "The Purest Desire is Freedom."

"Sea Grass"

What began as deep cut ridges in tar gel, like fingers clawing stiffening concrete, evolved through a series of mineral-like tableaus with increasingly visible grains, until organic forms resembling reeds, weeds, or microscopic beings emerged. The piece "Sea Grass" unfortunately cannot be captured accurately by camera. The phosphorescent background and series of dots collect light, then in the dark glow bright and greenish, slowly dimming, as the work seems to change before the viewer's eyes. Tamra's preoccupation with transformations of light and color here approaches the motion of animation, while remaining essentially static. The extroverted energy of Tamra Spivey's musical creations does little to prepare an observer for the subtle messages, progressions and transformations of her art. As is the case with her lyrical skills, the more attention, and education, brought to the table, the richer the reward.


The new series has evolved into an experiment with light and color. One work can become two, or more, depending on the level of light and dark in the room. A good example is "Orpheus". The first photograph in bright daylight brings out subtle sky blue dots in a pink, gold and purple sheen like amethyst.

"Orpheus by Night"

But purple turns to black and flashing gold to smoky amber in dim evening light, and the luxurious pearlescence turns fiery and hellish with deep reds. In the morning Orpheus ascends from red shadows to amethyst sky; at night he descends again. Changing the paintings display from landscape to portrait enhances the effect.






by RAR

Tamra, I truly admire your determinedly rebel, ragged nature. You made a name for yourself improvising your lyrics in live performance, for instance. You are kind of a high-wire artist. What possesses you to work in that way? Have you changed over time and become more “static” in your approach, or are you still “free styling?”

Freestyle started when we finished our set and nobody wanted to go home at one of our regular gigs at the Impala in Little Tokyo, Los Angeles. I laughed and said "what do you want us to do, make stuff up?" And we were encouraged to. I knew that Patti Smith, the freestyle rappers, Jim Morrison had experimented with that so I tried. Once you figure out how to do something you turn out to be good at, and everyone's impressed, you want to do it more. My experiments were good enough that serious poets like Randy Roark took me under wing and nourished intellect and ego, introducing me to big inspirations like Gertrude Stein. As I got better I found my unconscious was the superior lyricist. Today I do both freestyle and songwriting. I also like to take freestyle music by my musicians and find the song in it, the results can sound like a carefully arranged mood piece. It's like looking at a blank canvas and seeing the painting suggested by the subtle shadows.

I recall reading a quote from Pablo Picasso that went something like “to paint, you must close your eyes and sing.” This closely parallels a quote I read of yours that states “free styling allows the part of the mind that dreams to sing.” Picasso’s fragmentation art also puts me to mind of your own audio deconstructions. Was he an influence? Who inspired you to approach your art as you do?

People who said I couldn't. Anyone who doubted my intelligence. I tend to work off of negative feedback. But in the riot grrrl scene where I became a singer Guy Debord, Deconstructionism, Barbara Kruger were all around. We were hanging with Warhol superstar Holly Woodlawn, backing her up at a few live shows, so Warhol was on my mind, too. And the pere ubus, man and band. As I got deeper into my art I was inspired most by Kerouac, his fearless descriptions of reality, his humane and humorous rhythms, and by the lavish wordplay of Gertrude Stein, who taught me there are no mistakes, only happy accidents.

You have talked about “facing your fears” as key to unlocking your creativity. What fears initially drove you to start down your artistic path? Have those been assuaged and replaced with new fears? And if so, what are they now?

Fear drove me away from art. I was silenced. I was a mouse. Shut up Spivey was my name. My family always told me I was stupid, at best, weird, and thereby imperiling my only possible career choice: waitressing. Seeing arrogant boldly self satisfied illiterates acting like they had the world by a testicle because they could play guitar, knowing they weren't any smarter than me, I decided since I couldn't challenge them, I'd challenge myself. But at first I didn't want to sing. Riot grrrl gave me back my voice by giving me so many examples of girls facing their fears, so I faced mine. Have my fears changed? Are you kidding, with this administration? I didn't used to be afraid to tour, but then I didn't used to get death threats.

I find an actual holistic quality in your work, which for me includes everything from your music to your writing, art, political and social activism, and now your filmmaking. It feels all of one piece. Am I getting that right? Do you look at it that way and, if so, can you talk about your underlying philosophy and how it affects your approach?

The flavor in everything I do is there because I don't self censor according to the demands of corporate culture. Almost everyone can't help but deliver an edited version of self in today's society. There's a lot of concern about how things are supposed to be, but scratch the surface and they never are. So why conform to that? In my art and in my life I strive to avoid arbitrary restrictions. So far I've been able to survive, even prosper, as an outsider. These are good times for outsiders, even the most entrenched corporate powers feel like dinosaurs, as much as they try to stomp us mammals underfoot their pea brains realize we are built for the future.

You seem to think in terms of narrative forms. Are you primarily a writer?

The basic function of human beings is story telling. That's my aim in any media.

I love that you seem miffed by cliché, that you seem to suspect that people fall back on cliché to cover inability or unwillingness to confront their realities. Do I get that right?

Yup. Also I enjoy turning cliches inside out. By repeating a cliche with different emotional emphasis, or by twisting a syllable you can bring out a different meaning. Gertrude Stein thrills me with that, no one does it better, but I was doing it naturally before I was introduced to her work.

You have talked about a shared understanding that you feel when working with other musicians. Is there a similar commonweal understanding within the “civilian” population that you feel can be tapped for “good”? Is that what your extraordinary engagement – your blogs, music, artwork, filmmaking - is all about?

There's a collective awareness that we have strayed down a terrible path and I think everybody feels it in different ways. When I blog and bulletin about things that bother me I feel a sense of community and so do my readers. Common ground. Common sense. Common expression. Riot grrrl taught me nothing is more powerful than sharing the truth, reacquainting people with reality in your neck of the woods. Aristotle considered that the definition of art whatever the media.

If somehow you could trigger the imaginations and the shared, if submerged, motivations of each member of your community of like-minded souls, what would Tamra World be like?

Clean water. Clean air. Clean food. Good education. Well cared for animals, including all human varieties. Kibble for everyone. Lots of playtime. Much purring. But actually, the more I think about Tamra World the more frightened I become. Because, make no mistake, there would be some serious ass whooping. Ah, yes, I'm merciful but I'm vengeful. On one hand I love justice, intoxication, music, books, sex, healing, on the other I like to bring down some pestilence and wrath. Invincible justice as an immediate demonstration, rather than the slower more tedious processes of law or karma. We are living in the instant gratification age, after all.

Are you an optimist?

As Ben Franklin said more or less I'm a pessimist so I have only pleasant surprises. Doom is a good business. But when you consider the kinds of challenges our ancestors faced and with far fewer tools, like plague for example when they figured killing cats was the answer. Oops, the rats multiplied and so did the plague. Or some of Abe Lincolns relatives who were all wiped out when their milk cow nibbled on a weed poisonous to humans but not bovines. We survived despite all that. I believe in human ingenuity. We've all got to shake off this millennial doom and gloom hangover and roll up our sleeves.

On the metaphysical side I believe soma sema, the body a tomb. So there's always a happy ending, liberation from the angst of soul in body. I figure we've all been here before. It's a school. Well, sort of a kindergarten mixed with a prison, a kinderprison, but that's another story.

You seem to work with “concepts,” like your “Hundred Song March”. Tell me about your concept of an “ongoing and archived” musical autobiography? And why should every artist have one?

I think there's nothing more interesting than watching an artist develop. And for the artist what could be more satisfying than having absolute control of one's own archive? I like reading what clever writers have to say about artists, I found a lot of guidance in the writing of Lester Bangs, for example, but I prefer to know what the artist really thinks, what was really going on when art happened. I wish I had archives like that for Jim Morrison, Jimi Hendrix, Patti Smith, can you imagine? What about The Beatles? Or John Lennon's own hand made archive?

Also the archive is a direct relationship with the music audience. No need for record companies or any of that old school, tedious bullshit filled with parasitic infrastructure. Make your art. Share your art. Someday I hope the audience will wake up and seize this opportunity and then it may become possible to make money at this. But the money isn't as important as making art and artists free.

As for the 100 Song March, right now it's just a pile of archived bulletins and MP3s, but soon we'll have a more user friendly version.

You ripped Wired Magazine pretty good on their piece on “The Future of the Album,” and on their putting Beck in a position to speak as an authoritative futurist on the subject. My understanding of your point of view is that Beck, who has long been at the trough of a major label, probably has tainted vision. As one who has fought loudly against “corporate” fill-in-the-blank, what do you feel the future holds as to how “music product” will be delivered?

All media content, not just music, will be digital. Different demographics are reacting at different speeds. Country fans still buy CDs. Fans like ours stopped awhile ago. I think there will still be a small but steady market for limited edition customizable collector's items such as vinyl records if you make good art. Pre-subscription would be an interesting model right about now.

Certainly a corollary of equal importance to product delivery is product selection. Isn’t that, in the Internet age, the nut of the issue? Won’t demand and discrimination decide our future now?

Yes, the Internet lacks filters. But information and entertainment spread virally. It's harder to manipulate attention these days. To think you used to be able to put a poster up on a telephone pole! Now you have to navigate the prejudices of your world wide audience, to avoid the instant dismissal so many internet perusals result in. It's all part of the decentralizing process computer technology created. The world where one star could straddle all demographics is long gone. No matter how many media monopolies afflict us the mono-myth media is dead. Notice Brittney Spears escapades get more news than any current musical performer. Music is wallpaper, devalued by years of corporate abuse of the provider and consumer alike. But real music finds it's own way. The mother crane softly calls her chicks among the cat tails is the hexagram I always got when lusting for results.

As we become a global, niche culture, doesn’t our focus as purveyors of “art product” become more about assisting buyers to discriminate “intelligently” and in our own favor? This sounds like tricky business, as the only way to make any money in a world of niche markets is to somehow form coalitions of the similarly minded. This is what the media giants, and few others, have the means to do. Will infiltration not work?

I've had meetings with powerful media people and they all know it's inevitable that their monolithic distribution channels will be transcended. It's one reason they spend fortunes trying to control the Internet and end net neutrality. It's going to happen. A band, a DJ, a movie, some work of brilliance will shine and enough people will recognize it, the anti corporate sentiment raging in our society will drive it. If fifty thousand people sent twenty dollars to their favorite diy director or band that's a million dollars and a disaster for corporate media. I have a friend who works high up in the Wall Street world. He compares today's media monopolies to the buggy whip monopolies just before Ford launched the automobile. Infiltration won't work because it's too late to infiltrate. That's like stowing away on the Titanic!

Calculated effort toward mass success is very different from art. I know musicians have to think like business men now more than ever but you can't lose the fact that music is magic. You have to have faith in the unknown. Elvis didn't know they'd invent the 45 and the player to go with it just in time for little girls to have their own world in their own little room. He just went into Sun and sang for his mama. Everyone is so aware of media these days, and of marketing. But a website is truly no different than a street vendor's cart. You can scream all about your great fish heads at the top of your lungs, form a guild to corner the market, and put a clever picture and name on your product, but if the guy across the street has fresher fish heads you're out of business.

Of course, building legions of fans requires that the product being sold has some quality or aspect that serves as the unifying common denominator for a divergent range of people. That takes us back to “corporate music” and why so much effort is spent trying to find that “hit” thing that works for the greatest number. One could imagine that being something of an art in itself. Or is that a “y” in the road type of decision carrying the risk of rationalizing a sell-out? Can you conceive of yourself writing Tin Pan Alley style, competing like a pop vendor? Like a music row pro?

I don't like competition and office politics in art. Way to turn what gives you joy into a bleak and hopeless grind, ala Kurt Cobain (and all the way back to Syd Barret). It's natural for artists to envy each other, but the difference between inspiration and competition is galactic. As for the demographic home run of a hit song I think common denominators can be touched without sacrificing depth and individuality.

I'm currently at work on the songs for Mommie Dearest the Musical. I hate musicals and I hate Joan Crawford at least as played by Faye Dunaway, but Frank Yablans asked me to write it. That's as close to Tin Pan Alley as I'm ever getting.

It is probably worth noting that you aren’t exactly living in the forest off what you can rob from passing nobles. Aren’t you a professional editor? (Come to think of it, as a guy who does that himself, that is kind of like living in the forest off what you can rob from passing nobles.)

I figured awhile back I was not going to make money at music and still love making music. I don't like repeating the same songs over and over which is what's required in mass marketing which is the only way to make serious money in the music business as an original rock singer. I chose to love music. I've done alot of different jobs: bank clerk, toy store clerk, warehouse worker, messenger. Then I became art editor then a senior editor at Newtopia Magazine. Next I got into film and other media projects. Here's one of my favorites: . I'm not involved in the creative side but I helped get the company started, from meetings to movingboxes! But these were all ass backwards things that happened to me. Good turns of fate.

I find it charming that you talk about preservation of one's soul, i.e., avoiding “selling out” to the corporate media. The old hippie in me – I ate one and realized a disappointing aftertaste – finds this odd coming from a punk. Are we in a battle here for something worth keeping?

Charming? Fuck you, man! Actually, you'd be surprised how many punks are the most mystical motherfuckers you'll meet on the block. Of course, there aren't as many as there used to be. Some didn't make it to be here with us today. Others went the way of the pod people. But I always thought hippies and punks were on the same side of the fence. And someday we may be, since homeland security apparently agrees with me. (You see, how these rhymes flow free, so effortlessly?)

You have talked about how “universally available” technology now allows everyone to create and distribute their work independently, and certainly you share with the idea that this is a good thing. But why is it a good thing? Doesn’t giving tools to chimps just guarantee that the world will be filled with greater depths of mediocrity and in turn make it more difficult for the good Lucid Nation stuff to be seen or heard?

Wasn't commercial radio the same thing as soon as the suits arrived in force? That's why the true believers cling to the Jim Ladds out there, the last remaining embers of a time when radio was free and visionaries stalked DJ mics. Isn't that what happened to television? The brief golden age of freestyle comedy and gripping drama entranced the mono myth audience, but look at it now. Everywhere in nature the richest vein, from gold to jugular, attracts the most predators.

In tribal culture everybody makes songs so I welcome all the musicians out there. I believe everyone is a musician, your heartbeat is a drum. If the price of everyone making music is a few of us not being famous making music, that's okay. Music makes for a healthier society. I know I once considered myself that chimp without tools, it seemed important to everyone at home and at school to make sure I understood that. So more power to the chimps, and more tools.

I love A Girl’s Guide for Taking Over the World... Would we earthlings be better off if women were in control? Please explain.

You've obviously never been on the road with a girl band! I'm not a feminist, I'm an equalist. Gender is like an electrical current, you need the right balance to unleash the energy, too much of either polarity and there's a short circuit. I don't mean that sexually or romantically, I mean that governments, companies, and nations that balance gender will have phenomenal advantages because the entire creative resources of humanity will be theirs, instead of only half.

One of the wonders of doing a virtual interview like this is that while I am talking to you I am looking at your artwork, which I am really enjoying. How did you get into the fine arts? Can you talk a little about what you are up to now in that realm?

I've painted as far back as I can remember. Then I got taken to museums as a young child. Those Gainsboroughs left an impression! But what really got me going was running into the work of Ed Kienholz, That's when I started thinking in terms of surreal assemblages. To capture the tragic and funny at the same time appealed to me. Lately I've been really into the textures of mediums like glass beads, clear tar gel, fine and coarse pumice, and metallics. For awhile I was in a slow animation phase, using phosphorescence and tricks of light to create the illusion of change in a static canvas. But now I'm after capturing complex organic patterns.

What is up these days with Lucid Nation?

We got a Toft ATB24, a couple vintage Pultecs, one from the original Motown, and enough outboard and recording gear to turn our rehearsal space into a decent tracking room. Nitebob loaned me his Neumann. The result is 26 new songs. A variety of styles with a variety of musicians. But we're still laying down final vocals so I've only released a few rough mixes.

You are now an Associate Producer on The Gits Movie, which has been well received in limited distribution. Would that be correct to say? Is your role to raise awareness of the film and find capital to ensure broader distribution?

I introduced Gold Village, the film's co-executive producer, giving us the resources for a re-cut that will include never before seen footage of The Gits and interviews with people like Kathleen Hanna and Joan Jett. Liberation Entertainment, the distributor, was on board before I got there. I help out however I can. From going over the movie editing with the director and producer to doing some of the calling and emailing. Our MySpace friends came through in a big way.

Would you talk a little about what it is about The Gits that has you so invested in the success of the film

What happened to Mia happened to me except I survived. I think the film speaks to an agonizing crisis at the center of most societies. It's time for human beings to evolve past this surreptitiously tolerated abuse of an entire gender. I know many people, including women, think women are equal in America and much of the world today, or even privileged, but rape statistics prove otherwise.

I am reading through your constant stream of bulletins on MySpace, and your blog entries. You are the off-spring of a Marine father and your political interests might seem at odds with such an upbringing. Were you a rebellious teen who turned it into a lifestyle? What motivates you to be so counter-culture, if I read you correctly, and yet so involved?

Spoiling dinner for dad was a worthy goal. But I was a fourth child, ten years younger than my nearest brother, who being a sociopath Marxist queer extrovert, had exasperated dad pretty good by the time I got there. Dad worked the night shift. Mom worked the day shift. I was on my own. Is it counter-culture to be bored by mass media and its same old same old? Is it counter culture to not want the pain in the ass of dealing with the back end of mass media to have a so called career? I think mass media is counter culture, it's against culture.

Would friends say that you are “fun” to be around? Or are you ever serious and intense?

I think I'm a delightful breath of fresh air. Dammit. Actually, I like to laugh, and I give great relationship advice. I crack jokes, usually sarcastic one liners, probably caused by early exposure to the comedy of Lily Tomlin and Bill Hicks. At times I'm not so much serious and intense as withdrawn and disinterested. It's not personal, it's a Capricorn kind of thing. However, I'm not fun to record with. I take it very seriously and it gets very intense. I have to fight to get to where I need to be every time. There's still all those ghosts running around in my head telling me I'm a chimp. Without a tool.

Do you have a personal pursuit without artistic value but important to you nevertheless? What is it?

corralejo tequila and mint shermans


Anyone familiar with Tamra Spivey's life on MySpace knows that her fascinations are wide ranging. She keeps friends apprised of social, political and artistic issues through a constant stream of issue-related Bulletins, a recent sampling of which is included below:

British plan to build training camp for Taliban fighters

Can't Pay Your Mortgage? Trash Your House and Leave

Bombs Away over Iraq

Welcome to America ... You're Under Arrest

Military contractors are hard to fire

Obama's Record on Choice is Clear

Afghan Student Sentenced to Death for Reading Women's Rights

Violence Draws Veil Over Iraqi Women

Ann Coulter: McCain would make me a 'Hillary girl'

MySpace deletes hacked Web site for atheists and agnostics

Hillary and Obama Ignore Drug Reform

RIAA moves to screw over musicians some more

Have You Seen a Woman Director Lately? by Melissa Silverste

Thirty Ways of Looking at Hillary

Journalists, bloggers are threats in terror drill

The Supreme Court Forgets the People

Hillary Clinton: The New Nixon?

Sibel Edmonds: heroic whistleblower

Smirk of the Union

Super Bowl of Shame

The Fear Factory

Blackwater Protesters Given Secret Trial and Conviction

Help Snap'her and get something cool, too! Ebay treasures

If I were growing up now I'd be drugged in Juvi

Iraqis on "Success" and "Progress" in Their Country

Pro-Choice Republicans Stake Claim to Their Party

How Teenage Rebellion Has Become a Mental Illness

Goth Videos Sunday

Report from Texas: Warning to Female Musicians

Seeqpod! Playable search! Enjoy it while you still can~

Bare blonde ass could cost ABC $1.4 million

Is Wearing Makeup a Feminist Act?

Caught with a Bag of Weed? Could Cost More Than You Think

Thousand College CampusesTrying to Turn the Tide on Climate

Will Coffee Be a Casualty of Climate Change?

Detained teen planned suicide-hijacking



Tamra Spivey has signed on as an Associate Producer of The Gits Movie.

The Gits were a Seattle punk band, active from 1986 to 1993, whose career came to a tragic end with the rape and murder of singer Mia Zapata. 

The story of the Gits was made into a documentary film, titled simply 'The Gits'. The movie, directed by Kerri O'Kane, had its first screenings in 2005 at the Seattle International Film Festival to an overwhelmingly positive response. A rough cut of the film was accepted and screened at the 2007 SXSW (South By Southwest) Film Festival held March 9th-March 17th, 2007 in Austin, Texas. The final version of the film is currently in post production.

The movie features interviews with people who knew Zapata and the Gits, including Joan Jett, whose song "Go Home," written with Binkini Kill/Le Tigre frontwoman Kathleen Hanna, is a tribute to Mia Zapata.



In the early 1990s, Tamra Spivey was playing in a rock band, Cat Cult, with guitarist Ronnie Pontiac (above). They soon formed Lucid Nation and started playing fundraisers for a riot grrrl art collective known as Revolution Rising. That rapidly evolved into shows in L.A.'s downtown art community. In 1994, Lucid Nation toured the West Coast, playing seven riot grrrl conventions in one summer. Today, Tamra Spivey and Ronnie Pontiac remain the heart of Lucid Nation.


Learn more about Tamra Spivey and Lucid Nation by visiting Lucid Nation's MySpace.





©Rick Alan Rice (RAR), May, 2012