Queens of Rock: Teri Gender Bender of Le Butcherettes

By Scott Morrow
January 23, 2013

This interview appears in ALARM #40. Subscribe here to get your copy!

Le Butcherettes: Sin Sin SinLe Butcherettes: Sin Sin Sin (Sargent House, 5/10/11)

“Henry Don’t Got Love”

Le Butcherettes: “Henry Don’t Got Love”

Born and raised in Denver by Mexican and Spanish parents, Teresa Suaréz (known professionally as Teri Gender Bender) has, like many, a bicultural identity. Her garage-punk band Le Butcherettes — which began in Guadalajara, Mexico — is a product of that identity, particularly the differences in gender expectations that she has witnessed between the North American neighbors.

TeriGenderBenderThough Suaréz has toned down her stage show from the days of using bloody aprons and severed pig heads (she’s vegetarian, actually) as anti-sexism symbols, it still brims with the fuck-you defiance of a bad-ass feminist rocker. She’s aware that her sex and gender have brought “superficial pros and moralistically damaging cons,” as she puts it, but she’ll use any means necessary to elbow her way into the rock-and-roll boys’ club.

“I am not bothered that my legs have somewhat helped me get shows in Mexico,” Suaréz says. “I would like to think that my hard work at music, composing, [and] being a better person has affected my career. Funny enough, I know more men who try harder at using their sex appeal than women. Ricky Martin, anyone?”

Suaréz’s parents originally fled Mexico after surviving a pair of kidnapping attempts. When her father later passed away in the States due to a heart attack, her family moved back to Mexico, where she formed Le Butcherettes as a reaction to the culture gap. The band has since relocated to Los Angeles and gone through lineup transformations, including the addition of Omar Rodriguez Lopez on bass, but it retains the impassioned attitudes that Suaréz, still only 23, formed in her youth.

“There are so many flaws ingrained in our culture,” Suaréz says. “I was unhappy with Mexican politics and old customs that would insult my intelligence…so getting a shocking response from the people at the venues was what I was subconsciously looking for, even though I was against it. Nowadays I just like to look people straight into their eyes — and get an honest response.”

By Scott Morrow January 23, 2013
  • Show Comments

Your email address will not be published. Required fields are marked *

comment *

  • name *

  • email *

  • website *

Ads

You May Also Like

Amon Tobin @ Metro (Chicago)

On Saturday night in Chicago, Ninja Tune sample wizard Amon Tobin took the stage ...

Marnie Stern: In Advance of the Broken Arm

Has your jaw ever dropped, and you just can’t get it off the floor ...

Paintings from the Rapture: Alexia Stamatiou

Trawlers, 2004, gouache, ink, and pencil on paper, 7” x 9″ Looking through the ...

David Karsten Daniels: Sharp Teeth

David Karsten Daniels’ fourth full-length effort initially sounds like a run-of-the-mill folk record, but ...

Bleubird: RIP USA

With RIP USA (Endemik), Bleubird’s deep and socially introspective lyrics beg you to listen ...

The Glasspack: Dirty Women

Louisville’s The Glasspack wears its Southern heritage like a badge of honor. Tales of ...

High Priest: Born Identity

Many times in the musical sphere, when different elements from different genres are combined, ...

Andy Palacio & The Garifuna Collective: Watina

For the past decade, producer Ivan Duran from Stonetree Records of Belize has gathered ...