Los Angeles Punk Band Sluts For Hire: From Joke Side-Project to Cult Classic and Its Aftermath

In the neon‑lit heart of 1990s Los Angeles, a handful of musicians from the indie outfit The Leaving Trains spun off a riotous side project that would become a tongue‑in‑cheek footnote in punk lore. Sluts For Hire (SFH) burst onto the scene with a swagger that was part performance art, part anarchic band‑practice, and all punk. Their brief but explosive career left a trail of glitter, silly string, and balloon‑filled stage antics that still resonate with the city’s underground.

The original lineup read like a living collage: Sherri Puder—stage name Miss Koko Puff—roared from the front with a voice that could swing from a Betty Boop‑style croon to a ferocious punk shout. Dennis Carlin, aka Dinky or Ringo Moon, hammered the drums while also adding vocal layers; June Swoon, better known as Falling James, supplied guitar and vocal fire; and Wendy McConnell, billed as Boo Supah Star, anchored the low end on bass. The group’s signature look was flamboyant—glitter, balloons, and silly string became part of their identity, turning every set into a visual spectacle.

SFH’s discography was deliberately sparse. A three‑song 7‑inch single was followed by a single full‑length record, The Happiest Band On Earth, released in 1996. The title itself and tracks such as “The Happiest Song On Earth” and “GBG” (Girl Band Geek) underscored the band’s irreverent humor. Musically, the album blended fast, sludgy punk riffs with lyrics that were intentionally off‑beat for mainstream radio.

Lineup changes were as frequent as their shows. Falling James and Wendy McConnell departed, and the band welcomed Sam Soto on guitar and vocals and Joanna Harrington on bass. A later incarnation featured Cherry Maraschino—real name Melanie Coffe—who played bass on most subsequent gigs, while Sherri Puder remained the unshakable frontwoman.

Live, SFH was a force of nature. They carved a reputation at iconic LA venues such as The Echo, Spaceland, and the Regent Theatre. Their chaotic energy earned them the Flippy Award from Flipside magazine for best new band, and they were repeatedly highlighted in the LA Weekly as a pick of the night or week. A two‑day video shoot for the single “Ice Cream Truck” was completed but never saw the light of day.

Touring was a series of adventures and mishaps. The band played five nights at South by Southwest in Austin, then embarked on a West Coast run that took them to Las Vegas, Carlsbad, Santa Fe, and San Diego. Mechanical failures forced the van to break down on several occasions, forcing the crew to walk to hotels or wait for mechanics—yet the shows continued. Highlights included a set at the Hard Rock Café in Las Vegas and a performance inside the Carlsbad Caverns.

When the touring grind finally slowed, Sluts For Hire disbanded. Several members—Sherri Puder, Dennis Carlin, and Melanie Coffe—founded a new group called Pointy Kitty, a playful nod to the Simpsons. The new band released a self‑made CD with six tracks and performed a handful of shows between 2000 and 2002 before dissolving.

The story of SFH lives on largely through the recollections of Ames Flames, a former roadie and band member who chronicled the band’s chaotic shows, costume antics, and the camaraderie among the musicians. Flames’ accounts provide a vivid, first‑hand perspective on a brief but colorful chapter of Los Angeles punk.

Today, the band’s recordings remain available on streaming platforms and in physical formats, and the members’ subsequent projects continue to influence the local punk and indie scenes. The legacy of Sluts For Hire is that of a short‑lived, high‑energy punk act that left an indelible impression on anyone who witnessed their live performances.