Song I love being a bitch reshaped Las Vulpes in 1983. Forty years later, Nebulossa’s track Zorra will represent Spain at Eurovision in Malmö, Sweden in May. First, the history of Las Vulpes is reconstructed with the help of Loles Vázquez, the guitarist and songwriter behind the story. Then comes an analysis of whether Nebulossa’s theme qualifies as a violation in its current form.
vulpes They formed in Bilbao during the early 80s. The lineup featured Loles Vázquez on guitar, her sister Lupe on drums who passed away in 1993, Mamen Rodrigo on vocals, and Begoña Astigarraga on bass. Vázquez recalls that the band name grew from a personal remark about herself: a teenage moment that stuck with the group. “I was fifteen and studying Latin in high school”, she explains, reflecting on the origin of the name.
If they called me a slut because of how I dressed, behaved, and thought, and if they admired how I dressed, behaved, and thought, I would still be a slut.
There was not much theory behind the lyrics of The Stooges way of saying I want to be a bitch either. Vázquez grew up with a mother who participated in a neighborhood women’s group, where equality shaped daily life. Yet the street could echo with the word slut as a provocation. “If they call me a slut for my style, my choices, and my thoughts, I would own it. There are many things I dislike, but I still stand strong.”
One big and bold: Nebulossa is a feminist voice challenging the patriarchy
Yes, Iggy Pop would sing I wanna be your dog now while Las Vulpes proclaimed I love being a bitch. The contrast became a banner in a changing era of rock with a raw, unapologetic edge.
Transition
Vixen: TVE releases an English version of Nebulossa’s Zorra
The video for I love being Zorra aired on the TVE program Caja de Ritmos at noon on Saturday, April 16, 1983. Filmed months earlier, it surprised many with its bold message. The political climate was tense, with the transition period providing a backdrop for debate. Officials debated the content, while supporters argued it reflected a real voice. The editorials and public response highlighted a clash between culture and authority. The most discomforting moment for Vázquez was a single beep when hearing the word bastard, yet there was no major backlash at the time.
Two weeks later, a national daily published an editorial condemning the track as degrading to families and contrary to constitutional values. This marked the start of a longer public conversation. Critics argued the song crossed lines and needed moderation, while supporters claimed it captured authentic anger and critique. The debate would echo through the courts and media for years.
As a result, the original producers faced pressure, leading to resignations and program adjustments. Rhythm Box saw its format questioned, and the controversy drew attention to the band and its message. The episode became a touchstone in the broader conversation about art, protest, and censorship in the post-transition era.
pioneers
Eurovision would later refrain from censoring Nebulossa’s Zorra as it entered the contest. Early punk, especially British punk, joined women as central figures with feminist voices. The scene suggested that musicians could push boundaries and still be seen as capable artists. Las Vulpes stood out, possibly as the first all-female Spanish rock band, a rarity beyond Spain as well. Their emergence symbolized a shift in a male-dominated music world and sparked conversations about gender and art.
Vulpes formed in a gray Bilbao where funds were scarce and opportunities scarce. They channeled their anger into raw live spaces, stepping from the margins to wider audiences after the Rhythm Box controversy. Although they hadn’t yet released a full single, the record that did arrive carried the provocative title Me gusta ser una zorra on side A and Inkisión on side B, becoming their sole album. A legal case followed, with authorities challenging the band for perceived offense. The proceedings dragged on until 1986 when the case was dismissed.
Police attention at Rock-Ola
Las Vulpes performed at Rock-Ola in May 1983. The soundcheck ran into problems, and tensions rose when the band demanded the removal of a wire fence separating them from the audience. The live energy, amplified by strong reactions to their songs, drew heavy police presence. The group faced confrontations and humiliations, and the aftermath included a difficult period on tour. The band later recounts the violence surrounding performances, which contributed to a sense of risk in their early career. They pushed forward despite the pressure, with the unresolved tensions shaping their future.
In cities like Burgos and Benavente, crowds and political currents collided with the rock scene. Those pressures, along with industry challenges and legal standoffs, helped end that era for the band. In 2005, the members regrouped to complete the long-awaited album, with Me gusta ser serving as a tribute to Lupe Vázquez, who had passed away.
What does Zorra mean today?
Regarding Zorra, a contemporary translation of Nebulossa’s message I love being a whore, Vázquez notes that Eurovision has long understood how to stage a provocative festival. It is a stage where the dynamic of gender and performance can collide with mainstream broadcast. Marketing plays a role in how messages are received, and Zorra hits a broad audience. The word whore, like other reclaimed terms, has transformed in cultural usage and is now part of a larger conversation about identity and power.
Language evolves. Terms once used as insults have found new life in music and art. The Riot Grrrl movement in the 1990s helped redefine notions of female power and agency. The reappropriation of certain words became a tool in feminist expression and a way to challenge stigma. The debate around Zorra reflects a wider conversation about words, identity, and the boundaries of popular culture. Eurovision remains a barometer of public sentiment, and Nebulossa’s entry adds to the ongoing dialogue on representation and voice in modern music.
Ultimately, the discussion connects to a broader point: the tension between artistic freedom and social norms. The idea that art can push boundaries invites audiences to confront difficult issues and to reexamine what is considered acceptable, especially when it involves gender, power, and performance.
They decided to challenge the established voices of Las Vulpes. In response, many girls later supported Las Vulpes, adding to a chorus that questioned authority and celebrated resilience
Fallorás highlights how new media and social networks reshape who holds influence in public discourse. She suggests that Las Vulpes inspired a wave of young women to stand up for their ideas, reinforcing that a changing information landscape can empower diverse voices. In this new public arena, it matters less to please every authority and more to stay true to one’s perspective and intent.