In the late '90s, Peter Bagge had been making sarcastic comics about grumpy twenty-something slackers in Hate for more than a decade; his work was really closely associated with not just a particular adult audience, but a very specific tone and style. It's no surprise that he wanted to do something different.
What he did was surprising, though: he wrote the all-ages, Comics Code-approved girl-band comic Yeah! for DC Comics, collaborating with Gilbert Hernandez. (Hernandez's career has taken a lot of odd turns, and he's worked with a number of writers over the years, so this was not quite as much of a departure for him - I've always gotten the sense that Hernandez just has the desire or need to generate a lot of work, to keep himself engaged and happy, and the more different the better.)
Bagge's introduction in this 2011 collection of Yeah! - notably from Fantagraphics, longtime publisher of both Bagge and Hernandez, not DC, which is a big signpost to the fortunes of the series for those who can read tea-leaves - notes that he had an eight-year-old daughter at the time, and had gotten happily into "girl culture," which reignited his love of pop music. There always are reasons and explanations for specific projects; they always make sense to the creators at the time, and enough sense to the publishers that they make it out into the market. The question, always, is how that market responds.
Yeah! was not a success in the market. It ran nine issues, and was only collected a decade later by a different publisher. (And here I should also note that the collection is in black-and-white, but I think the original comics were in color, since characters make comments about the colors of things pretty regularly, and 1999 was awfully late for a book for tween girls without color.)
And the comics are...OK, I suppose. Bagge is a wordy writer, and this reads not too differently from his better-known work, to the point that the regular Bagge reader starts wondering if these characters are actually being honest and straightforward, or if Bagge has just unlocked a previously inaccessible level of sarcasm. There's one backup strip at the end that Bagge draws himself, and it's really hard not to read it like a Hate story - Bagge clearly intends for it to be taken straight, but regular readers will assume spleen and bile in his phrases.
Yeah! is the name of the band: Honey, Woo-Woo and Krazy, three best friends not quite out of their teens, a few years into a music career. They are struggling on Earth but the biggest act in the galaxy, beloved by millions across dozens of alien worlds. (But this was a contemporary Earth that hadn't had a first contact yet, so there's no commerce with those alien worlds, so the vast loot Yeah! brings in is useless. They don't seem to even bank it on an alien world so it's available for tours or such, like the old Soviet Union; they just give it away or ignore it.) They also have an old, nutty guy as their manager: Crusty; his inventions got them out into the galaxy but his general incompetence can't get them any good gigs on Earth.
The nine issues are each basically standalone, with goofy adventures either on Earth or in space - including the inevitable flashbacks to reveal Who They Are and How They Got Here - as Yeah! chases fame and fortune here (with little success) and gets involved in odd alien things out there. On Earth, they have a rival, Miss Hellraiser, and a band of boys, The Snobs, who always beat them in battle-of-the-bands situations and one of whom has a crush on Woo-Woo. In space, the characters are all one-offs - there's the driver of their space limo who shows up a couple of times without actually getting a personality or anything to do. The stories are all wordy, and all full of the cultural assumptions and ideas of a guy Bagge's age (early 40s around this time), including a bunch of hippie jokes.
This is all fine: it's amusing and entertaining, and the gestalt of Bagge's writing and Hernandez's art works well together. It is too wordy, in that old-fashioned comics style, full of long captions and long dialogue balloons that say a lot of the same things over and over again. And it all comes across as something like a generation-later version of Bob Hope: goofy, sui generis comics that are meant to appeal to a younger audience but are full of the ideas and plot devices of old people.
Yeah! is basically forgotten, for good and sufficient reasons. It might not quite deserve that, but most things get forgotten twenty-five years later. If you really loved Josie and the Pussycats (the movie, the concept or the comics) and wish there was something else sorta like that, you might be in luck.
