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Lucretia Tye Jasmine

Lucretia Tye Jasmine, an artist-writer from Kentucky who lives in Los Angeles, earned a BFA from NYU (1988) and an MFA from CalArts (2006). Exhibitions include Alien She (2015); the Museum of Broken Relationships (2017); a Performance PowerPoint about riot grrrl at the Museum of Popular Culture (2017); and a paper at Universities Art Association of Canada (2017).  Publications include 2017's Let It Bleed: How To Write A Rockin' Memoir, edited by Pamela Des Barres, and 2018's Women Who Rock, edited by Evelyn McDonnell.

"Groupie Feminism: The GTOs, Girls Together Outrageously"
I'd like to deliver a twenty-minute paper about Girls Together Outrageously, a performance art rock band that formed in late 1960s Los Angeles, via an image-filled PowerPoint along with audio excerpts of their music and my interviews with them.
My original research is based on interviews I conducted for my mixtape zine, The Groupie Gospels: the three surviving GTOs; groupies (including Cynthia Plaster Caster, Cherry Vanilla, and "baby groupies" known as LA Queens); photographers, including Baron Wolman; and music journalists such as Victoria Balfour, Gillian Gaar, Holly George-Warren, Margaret Moser, and Lisa Rhodes. My approach locates how women's ambitions dared a sexy equality in the male-dominated rock world, and how those ambitions were minimized by what GTO, Miss Pamela, calls a "finger-pointing jeer."        

Groupies emerged on the cusp of revolutionary Second Wave Feminism as the avant-garde of the sexual revolution. Colorful cohorts to the new counterculture royalty, groupies followed rock stars from city to city, becoming almost as famous as the rock stars.  GTOs were groupies who formed a band: Miss Christine, Miss Cynderella, Miss Lucy, Miss Mercy, Miss Pamela, Miss Sandra, and Miss Sparkie. The carnival couture of their influence demonstrated a groupie feminism that experimented.
Their 1969 album, Permanent Damage, announced a theatrics of sound that matched their freaky image and cultural impact: in 1969, Rolling Stone magazine dedicated an entire issue to groupies, with Wolman's photographs, and published Groupies and Other Girls: A Rolling Stone Special Report. The 1970 documentary, Groupies, and 1973's groupie magazine, Star, materialized. GTOs figured prominently in the reporting. Rock stars dressed like GTOs. Miss Pamela chronicled the era in her bestselling 1987 memoir,  I'm With The Band.
Groupies, in their sexual freedom that tried to equal men's, were often relegated to and discarded like band-aids. Which is why GTOs are so crucial. In this mighty passage of music history, it seemed as though women could equal men in freedom of purpose and power. Rock stars took center stage. Groupies worshiped at the altar. GTOs, for one album and at least one esteemed show, were both.