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The Bangles’ memoir retraces the band’s steps of walking like Egyptians, meeting Prince and making history

BBG News

Before achieving their chart success, worldwide fame, and eventual disbandment, the Bangles originated from an advertisement on a large board in the storefront of Musicians Contact Service along Sunset Boulevard. Since their teenage years, sisters Debbi and Vicki Peterson had been part of numerous bands, even playing at the Troubadour while they were still in high school. In response to an ad for a female musician, as the sisters’ dream was to form an all-female band since first picking up guitars and drumsticks, Susanna Hoffs’ fortunate phone call laid the groundwork for the Bangles. Their first rehearsal in Hoffs’ parents’ garage in Brentwood saw them connecting over Jefferson Airplane, Arthur Lee, and the Beatles. Another advertisement in the Los Angeles publication, the Recycler, brought 18-year-old Annette Zilinskas into their group. Although she had no experience with bass, the ad requested a bassist, and Zilinskas was eager to learn.

Back in 1981, we, the Bangs, made our first recorded single at Radio Tokyo, Venice. It wasn’t long before KROQ gave it a spin, boosting our visibility. Simultaneously, another L.A.-based all-female band, the Go-Go’s, were also climbing the ladder of success. The comparisons between us two emerging bands became a common theme during our early career, but we pressed on, carving out our unique niche in the music scene.

Over time, Micki Steele became part of the Bangles lineup for their debut album “All Over the Place” (1984). However, when their second album “Different Light” was released in 1986, the band had endured emotional turmoil from a challenging and disputatious recording process with producer David Kahne. This period marked the start of their significant commercial success, but it also signified the straining of their unity as a group. The third album “Everything” (1988) showcased the band’s songwriting skills and diverse musical influences, as they exerted more control over their production. Issues with management, media-fueled competition, and the intense pressure of rapid fame ultimately led to their disbandment in 1998. After a breakup, they reformed and produced two subsequent albums, “Doll Revolution” in 2003 and “Sweetheart of the Sun” in 2011. The story of the band, as told by its members themselves, is detailed in a new authorized biography titled “Eternal Flame,” authored by Jennifer Otter Bickerdike.

Hoffman (Hoffs) and the Peterson sisters shared memories with The Times, looking back on significant moments in the Bangles’ past and explaining how the group impacted their personal journeys.

This interview has been edited for clarity and length.

Were you instantly enthusiastic when Jennifer suggested writing a memoir about The Bangles, or did you have some doubts and reservations instead?

Susanna: Jennifer first connected with Vicki, and when we had our initial chat, we clicked right away. She’s lively, and she’s passionate about these tales, almost to an obsessive degree. We all felt the same way about it. Michael Steele seems to have taken a step back, so Jennifer wasn’t involved in the biography production. I thought that if there was going to be a biography on the Bangles, it would be beneficial to verify the facts or at least share my perspective. It’s intriguing how the story can vary among people, and it’s interesting to note that even the three Bangles have different perspectives. The tale is somewhat reminiscent of Rashomon, where everyone has a unique viewpoint.

In the decades following the ’80s, there are several questionable storytellers. It’s no secret that certain statements made were quite distressing. Regarding descriptions of Hoff’s childhood home in Brentwood, it appears the Petersons had a different understanding of my life compared to how I remember my own childhood upbringing in some instances.

As a devoted cinephile, I can’t help but reminisce about the day I answered an ad seeking a female musician to join a band. The novel vividly portrays an immediate musical and personal harmony between myself, Vicki, and Debbi – does that resonate with your own recollections?

Susanna: It’s still mind-blowing to me how we, the band, managed to connect through an ad in the local newspaper. Scouring the Recycler magazine was my attempt to find fellow musicians after graduating from UC Berkeley and moving into a rundown garage at my parents’ place because I didn’t have a proper job, just a minimum wage one that couldn’t cover rent. I cherished my time in that garage. The first time I met Vicky and Debbi was while I was living there, on a mattress on the floor. That evening, they visited, we played music together, specifically “White Rabbit” by Jefferson Airplane at their suggestion, which was brilliant. Thank you, Vicki and Debbi, for introducing me to that song as it held a special place in my heart. Our shared passion for 1960s music was what brought us together. There was an electric energy in the room on our first meeting, a feeling like we were meant for each other, so much so that I felt we could have gotten married on the spot! I’m eternally grateful for that fateful night and the Bangles.

As a music enthusiast, I remember the first time I conversed with Susanna vividly. It was following an advertisement our former lead guitarist had placed in the local newspaper. For years, Debbi and I had been jamming together since high school days. Our bass player tied the knot and moved away, leaving us with just the two of us. The departure of our lead guitarist left us feeling lost and heartbroken, especially after the tragic assassination of John Lennon. Susanna’s call felt like fate. We both were adrift, yearning for something to fill the void. Our 45-minute phone conversation sparked an instant connection. In our trusty station wagon, Debbi and I ventured to Susanna’s house, and our musical camaraderie bloomed instantly. Emotionally and musically, we found a kindred spirit. As I looked at Debbi, I exclaimed, “Wow, I think we’ve found her!

Could you share with me your memories of when the band’s touring schedule became too intense, leading eventually to its disbandment? Let’s rewind a bit and talk about the moments that signaled the approaching end.

Susanna: The Bangles had numerous phases, much like families. With Vicki and Debbi being siblings, there was an added dynamic of shifting alliances. Initially, Vicki and I wrote songs together, but later, Michael joined in with his fantastic compositions. Living together on tour meant dealing with the challenges of life on the road, coupled with limited independence as young women approaching our late twenties. It felt like a pressure cooker for many reasons. We were expected to remain united, yet there were plenty of men in suits giving us instructions, making it hard to navigate that situation.

As I embarked on my musical journey with David Kahne at Columbia Records, our bond was strong. However, from what I’ve gathered, Vicki and Debbi had a more tumultuous partnership with him. As the ’80s drew to a close, it became evident that we yearned for creative independence. During the creation of our third album, “Everything” (1988), we each ventured off to explore our own musical paths, and collaboration was less frequent at this time. The production process took on an ‘art by committee’ feel, with David, label executives, and various voices contributing to the creative discourse. It was a complex period filled with discussions, adjustments, and ultimately, I believe, success in delivering our unique sound.

How has collaborating with David Kahne influenced your relationship dynamics, and what are your current feelings towards the initial album that resulted from this collaboration?

Vicki: The first album was tough for numerous reasons, but upon listening to it today, it feels authentic to us. David Kahne was a producer at Columbia Records when we were just starting out, and since we were new to the label, we didn’t feel comfortable letting him go. He had doubts about our abilities, which affected our self-assurance. I recall thinking, “I don’t understand how anyone can make more than one record.” Surprisingly, we ended up working with him again later on.

Debbi: Our band had our unique setup and sound developed from playing at various clubs. Hearing someone suggest changes felt like we were being forced to transform into something I didn’t feel truly represented us as a band. We had an edgy, punk vibe, and that’s what I appreciated about us.

What are some albums or songs by the Bangles that you feel particularly proud of and believe they will continue to be enjoyed in the future?

Susanna: I’d like to kick things off with “Hero Takes a Fall,” a tune that Jackson recently heard at Whole Foods in Chicago. This song was on our debut album released by Columbia Records. Vicki and I collaborated on it, and the process was really enjoyable. We were flipping through books of poetry for inspiration, which is where the idea originated. This song had a significant impact; it piqued Prince’s interest in the Bangles. After seeing the video we made in San Francisco, he became intrigued by us. This led to an amazing sensation that an artist as talented as Prince was taking notice of us. We had the privilege of attending his shows, and watching him play guitar from the wings left everyone, including me, awestruck.

Then there’s “Manic Monday.” That turned out to be an amazing moment when that became a hit.

Vicki: We felt privileged and grateful when Prince decided to offer us two songs. Known for his immense creativity, he often shared his songs with those he cared about or collaborated with. I thought “Manic Monday” would suit us well, as it was relatable and still frequently mentioned today. It seemed accessible, and many people continue to reference it even now.

“Walk Like an Egyptian” was a late addition to “Different Light” (1986). How do you feel about it?

Susanna: I adored “Walk Like an Egyptian.” It was quite peculiar, isn’t it? I recall visiting the Columbia offices, and David [Kahne] played me Marti Jones’ rendition of it to seek my opinion. By then, we had almost completed the album, and he suggested, “on a whim, what if we covered ‘Walk Like an Egyptian’?” It was such an unusual, eccentric piece that perfectly fit The Bangles.

It was basically a No. 1 song from 1986 to 1987.

As a film enthusiast, let me share my recollection: Towards the final stages, Kahne introduced that tune during rehearsals. At first glance, it seemed an unusual piece, a groove I’d never encountered before. Marti Jones was the original artist, and I found myself questioning our choice to cover it. However, with an open mind, I embraced the challenge.

Have you continued with the band since reforming it twenty years ago for the fourth album? Is this something you’re still passionate about pursuing, and how has being a Bangles member impacted your life and personal identity?

Vicki: Our band hasn’t played together since 2019, but back in the late ’80s, we didn’t formally disband either.

Debbi: It was a hiatus.

Vicki: The Bangles is always a part of our lives, our individual and collective identities.

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2025-02-18 22:01

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