By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on July 19, 2008)
Viva Zapata: Mia and her fans, circa 1991.
In the fall of 1992, I moved to Seattle with no particular action plan, and stumbled into a job hosting the Monday-Friday morning drive show on KCMU (now KEXP) , a mostly volunteer, low-wattage, listener supported FM station broadcasting from the UW campus with the hopeful slogan: “Where the music matters.” I remember joking to my friends that my career was going in reverse order, because after 18 years of commercial radio experience, here I was at age 36, finally getting my first part-time college radio gig. I loved it.
I couldn’t believe I was getting paid to cue up whatever I felt like playing, as opposed to kowtowing to the rigid, market-tested “safe song” play lists at the Top 40, Oldies and A/C formats I had worked with previously. A little Yellowman, Fugazi, Cypress Hill, Liz Phair, maybe a bit o’ Mudhoney with your Danish? Followed by a track from Ali Faka Toure, some Throwing Muses, topping the set with an oldie like the Velvet Underground’s “Heroin” to take you up to your first coffee break? Sure, why not? I was happier than a pig in shit.
What I didn’t realize until several years following my 7-month stint there, is that KCMU was semi-legendary in college/alt-underground circles; not only was it literally the first station in the country to “break” Nirvana, but counted members of Mudhoney and Pearl Jam among former DJ staff. I was just a music geek, enthusiastically exploring somebody else’s incredibly cool record collection, whilst taking my listeners along for the ride; in the meantime I obliviously became a peripheral participant in Seattle’s early 90’s “scene”.
One of the countless bands that migrated to Seattle during the city’s brief and shining heyday as America’s D.I.Y Mecca was a quartet hailing from Ohio, who called themselves The Gits (in honor of a Monty Python sketch). Led by talented singer-songwriter Mia Zapata, the band mixed the aggressive melodic punch of L.A.’s X with the art-punk lyricism of San Francisco’s Romeo Void. Zapata’s powerful, bluesy Janis Joplin-meets-Exene Cervenka vocal delivery and charismatic stage presence made her a formidable front woman, and the band quickly gained a strong local following.
They also soon gained the attention of local music producers, and were on the verge of being courted by some of the major labels, when it all came crashing to earth with a resounding thud. In the summer of 1993, Mia Zapata was beaten, raped and killed, her body unceremoniously dumped in a vacant lot. Her murder remained unsolved until an astounding break in the case in 2003 helped bring her killer to justice (thanks to advancements in DNA forensics).
Her frighteningly random and brutal murder not only had a profoundly disheartening and long-lasting effect on Seattle’s incestuous music community, but at the time, symbolically represented the beginning of the end for the city’s burgeoning music renaissance; it was sort of the grunge era’s Altamont, if you will.
In their documentary The Gits (available on DVD), super-fans and first time filmmakers Kerri O’Kane (director) and Jessica Bender (producer) have constructed an engrossing, genuinely moving portrait of the band and Zapata’s legacy. When O’Kane and Bender were doing initial research for their project, they began snapping up all the Gits memorabilia they could get their hands on, acquiring much of it via eBay, and mostly through one particular seller.
That person turned out to be the band’s drummer, who was beginning to wonder who these two particularly obsessed fans were. This eventually led to full cooperation from the surviving band members, after they were assured that O’Kane and Bender weren’t a couple of weird stalkers.. This was a legitimate concern due to the fact that Zapata’s killer was then still unknown and presumably still at large. Thus began a six year labor of love for the pair.
The first half is devoted to Gits’ history, beginning with their formation at Antioch College in Ohio in 1986. By the time they moved to Seattle in 1989, the band had developed a sonic sensibility more simpatico with punk rock than it was to the trendy “grunge” sound of the time (speaking as an “old school” rock fan, grunge always sounded like warmed-over Blue Cheer or Sabbath to me, while punk was closer to the spirit of The MC5 and The Ramones).
O’Kane does a nice job encapsulating their Seattle years with well-chosen performance clips and archival photos. Interviews with the band, their friends and members of Mia’s family are supplemented by recollections from professional peers like Joan Jett and members of 7 Year Bitch, an all-female Seattle band who were generously mentored by the Gits (and ironically, signed by a major label long before their more musically accomplished mentors were “discovered” themselves). The music business is a harsh mistress.
The second half of the film deals with Zapata’s death. To their credit, the filmmakers don’t exploit the sensationalist aspects of the crime or dwell on all the gory details of the murder itself. Instead, they take the high road and examine the profound effect her loss had on her family, friends, fans and fellow members of the music community.
The sensitive and respectful handling of the latter part of the story ultimately accentuates what lies at the heart of a film that could have been a real downer: an inspiring portrait of a group of close friends truly committed to each other, their music and their fans. With all the soulless pap oozing from the music charts and Stepford Idol marionettes warbling their glorified karaoke at us from our Empty Vee these days, it’s enough to give one a glimmer of hope that, somewhere out there in the ether, there will always be someone making Music That Matters (I can always dream, can’t I?)
O’Kane even manages to find and highlight one bittersweet “positive” (for want of a better word) that resulted from the tragedy, which was the formation of Home Alive, an anti-violence non-profit organization that is perhaps best described by the mission statement posted on their website:
Home Alive is a Seattle based anti-violence non-profit organization that offers affordable self-defense classes and provides public education and awareness. We believe violence prevention is a community responsibility as well as an individual issue. Our work in self-defense encourages everyone to recognize their entitlement to the basic human right to live free from violence and hate. Our goal is to build a cultural and social movement that puts violence in a context of political, economic and social oppression, and frames safety as a human right.
Sounds like a damn fine plan to me. Now, if we just could convince the rest of the world to start acting so…punk rock.