L7’s New Album ‘Hungry for Stink’ Captures Punk Spirit and Social Activism

This story was originally published in the August 11, 1994 issue of “Rolling Stone.”

L7 performed at Gladstone’s, a Santa Monica beachfront venue, serving a massive seafood platter of lobster, clams, mussels, and shrimp. The event was marked by the waitress’s casual attire and the band’s unconventional style.

L7 vocalist Donita Sparks noted that the band’s interactions with promoters often involved lavish seafood meals. “We make them take us out for lobster,” she said, emphasizing their punk-inspired approach to hospitality.

Bassist Jennifer Finch described the band’s aesthetic as confrontational rather than sexual. With elements like pierced navels, tattoos, and a stocky build, L7 stood out as the “weirdest-looking” group at the venue. Guitarist Suzi Gardner wore a multicolored leather jacket, drummer Dee Plakas had bright green hair, and the group’s energy reflected their D.I.Y. punk ethos.

The band’s music channelled classic punk rock influences like the Ramones and Sex Pistols. Their lyrics combined aggression with feminist themes, as heard in their song “Shirley,” which celebrates drag racer Shirley Muldowney. The track loops the line “Winning” repeatedly, mirroring Muldowney’s defiance.

L7 rejected labels like “foxcore” or “riot grrrl,” asserting their identity as a band rather than a movement. Despite gender-based challenges, they embraced their uniqueness. At a 1992 festival, Sparks removed her tampon onstage, a bold act of rebellion. “We’re not afraid to be ourselves,” Finch remarked.

The band’s camaraderie was central to their identity. They shared cigarettes, political views, and a mutual disdain for individual spotlight. “We finish each other’s sentences,” Sparks said, highlighting their tightly-knit dynamic.

L7’s self-policing of their image was notable. They avoided media interviews and photo shoots, instead communicating as a unit. Finch noted that misquotes were common, but the band handled them with humor and defiance.

Formed in the mid-1980s, L7 began rehearsing at Maxine Nazworthy’s home, a haven for LA punks. Their 1988 debut with Epitaph and 1990 EP “Smell the Magic” laid the groundwork. The 1992 album “Bricks Are Heavy” and its hit single “Pretend We’re Dead” boosted their visibility, selling 250,000 copies.

L7 expanded into film, appearing in John Waters’ *Serial Mom* as the band Camel Lips. “We were honored,” Finch said, referencing their long-time admiration for Waters.

With *Hungry for Stink*, L7 aimed for mainstream success while maintaining their punk ethos. The album blends raw energy with social activism, promoting Rock for Choice, the pro-choice organization they founded. “We’re buying surveillance gear for clinics,” Sparks explained, underscoring their ongoing advocacy.

Despite financial struggles, L7 remained grounded. Gardner spoke of her 1973 Cadillac requiring repairs, while Plakas drove a car with bumper stickers. “My dad still drives us to the airport,” Finch added, emphasizing their close-knit relationships with family members.

During a tour in Brazil and Japan, L7 experienced both fervent and chaotic fan interactions. “Brazilian fans are aggressive,” Plakas said, while Gardner noted Japanese fans would “sit outside our hotel for hours.” Their music resonated globally, even if language barriers existed.

Despite their rising fame, L7 maintained a DIY spirit. They declined corporate endorsements, focusing on their message. Finch’s encounter with Angellyne, a celebrity with a similar bold persona, highlighted their unexpected connections. “She offered video work,” Finch recalled, laughing at the surreal moment.

L7’s legacy lies in their resistance to conformity. Their music, activism, and unapologetic individuality define them. As Finch said, “People like you just fuel my fire.” Their story is one of defiance, creativity, and unwavering authenticity.

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