Riot grrrl
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Riot grrrl is an
Riot grrrl songs often addressed issues such as
In addition to a unique
Origins
The riot grrrl movement originated in 1991, when a group of women from Olympia, Washington and Washington, D.C. held a meeting about sexism in their local punk scenes in the United States.[17] The word "girl" was intentionally used in order to focus on childhood, a time when children have the strongest self-esteem and belief in themselves.[18] Riot grrrls then took a growling "R", replacing the "I" in the word as a way to take back the derogatory use of the term.[19] Both double and triple "R" spellings are acceptable.[20]
The
There was a lot of anger and self-mutilation. In a symbolic sense, women were cutting and destroying the established image of femininity, aggressively tearing it down.
Riot grrrl bands were influenced by groundbreaking female
Pacific Northwest and Washington, D.C.
Olympia, Washington had a strong
In the 1980s, two articles on the topic of women in rock would be published by Puncture, a Portland, Oregon, zine edited by Katherine Spielmann and Patty Stirling.[38] Authored by Rough Trade employee Terri Sutton, these articles became what is considered by some to be titular writing on riot grrrl ethos.[39] One article, "Women, Sex, & Rock 'n' Roll" (1989) is considered particularly important as the manifesto of the riot grrrl movement.[40] Sutton would also say, in "Women In Rock: An Open Letter", written in 1988, "To me rock and roll is about lust, lust for feeling; the worst I can say about a band is they're boring. That's why it's so crucial that women get up onstage and impart--inspire some emotion."[41]
Meanwhile in the Washington, D.C. area, Beat Happening fan
Vail began publishing her zine Jigsaw in 1988, around the same time that Dresch started her zine Chainsaw.[42] Zines became a means of urgent expression; Laura Sister Nobody wrote in her zine Sister Nobody, "Us, we are women who know that something is happening – something that seems like a secret right now, but won't stay like a secret for much longer."[35] At the time, Vail was working at a sandwich shop with Kathi Wilcox who was impressed by Vail's interest in "girls in bands, specifically," including an aggressive emphasis on feminist issues.[45] Meanwhile, in 1989 Kathleen Hanna had co-founded the Olympia art collective/band Amy Carter and feminist gallery/music venue Reko Muse, both with Tammy Rae Carland and Heidi Arbogast.[34] By summer 1989, the space had hosted The Go Team, Babes in Toyland, and Nirvana.[34] Hanna also interned at SafePlace, an Olympia domestic violence shelter and provider of sexual assault/abuse services, for which she did counseling, gave presentations at local high schools, and started a discussion group for teenage girls.[34] Hanna came upon a copy of Jigsaw in 1989 and found resonance with Vail's writing.[42][46] Hanna began to contribute to the zine, submitting interviews to Jigsaw while on tour with Viva Knieval in 1990.[42][47] In Jigsaw, Vail wrote about "angry grrls", combining the word girls with a powerful growl.[22] Some issues of Jigsaw have been archived at Harvard University as a research resource along with other counterculture zines.[48] After touring for two months in summer 1990, Hanna's band Viva Knievel called it quits.[47] Hanna then began collaborating with Vail after attending a performance of The Go Team and recognizing Vail as the mastermind behind Jigsaw zine.[49] Dresch later started a record label under the name Chainsaw and formed the queercore band Team Dresch. In Chainsaw #2 she wrote, "Right now, maybe, Chainsaw is about Frustration. Frustration in music. Frustration in living, in being a girl, in being a homo, in being a misfit of any sort...Which is where this whole punk rock thing came from in the first place."[35]
Molly Neuman (from D.C.) and Allison Wolfe (from Olympia) met in fall 1989 while living next door to each other in dorms at the University of Oregon in Eugene, Oregon, and they traveled to Olympia on weekends.[42][50] They first read Vail's zine Jigsaw in January 1990, and around the same time met Hanna.[50] While on winter break 1990–91, Neuman returned to Washington, D.C., where her family lived and created the first issue of the zine Girl Germs.[37][42][50] Corin Tucker came up with the band name Heavens to Betsy in Eugene during the summer of 1990, and moved to Olympia that fall to attend The Evergreen State College.[42][51] Kathleen Hanna and her friends Tobi Vail and Kathi Wilcox, who were also studying at Evergreen, recruited Billy Karren to form Bikini Kill in fall 1990.[42] Neuman and Wolfe played their first show on Valentine's Day 1991 at the North Shore Surf Club in Olympia, after Johnson invited them to perform on a bill with Bikini Kill and Some Velvet Sidewalk.[42][50] While working on a documentary film about the Olympia music scene, Tucker went to this show and interviewed Neuman and Wolfe.[50] Hanna, Vail and Wilcox collaborated on a feminist zine titled Bikini Kill for their first tours in 1991.[49][52] The Riot Grrrl movement believed in girls actively engaging in cultural production, creating their own music and fanzines rather than following existing materials. The bands associated with Riot Grrrl used their music to express feminist and anti-racist viewpoints. Bikini Kill, Bratmobile, and Heavens to Betsy created songs with extremely personal lyrics that dealt with topics such as rape, incest and eating disorders.[53][54]
The third issue of Vail's zine Jigsaw, published in 1991 after she spent time in Washington, D.C., was subtitled "angry grrrl zine".[42] In spring 1991 Cheslow was living in San Francisco, and she received letters from Ian MacKaye and Nation of Ulysses' Tim Green informing her about Bikini Kill and "angry grrrl" zines.[42] That spring 1991, Neuman and Wolfe spent spring break in D.C. and formed Bratmobile there with Erin Smith, Christina Billotte (of Autoclave), and Jen Smith.[42] Bikini Kill toured with Nation of Ulysses in May/June 1991, converging in D.C. with Bratmobile that summer.[35][42] It was here that Neuman and Wolfe created the first issue of riot grrrl zine.[35]
While Bikini Kill and Bratmobile band members were in D.C. during summer 1991, a meeting was held with women from the D.C. area to discuss how to address sexism in the punk scene. These women were inspired by recent anti-racist riots in D.C., and they wanted to start a "girl riot" against a society they felt offered no validation of women's experiences.[17] The first riot grrrl meeting was organized by Kathleen Hanna and Jenny Toomey, and it was held at the Positive Force group house in Arlington, Virginia.[56][58] Hanna later said, "We had to go to a Positive Force meeting first. I'd never had a pitch meeting before. But I was doing a pitch meeting for why they should let us use their house for this all-women's radical feminist community organizing meeting."[56]
In August 1991 many of these individuals gathered at the International Pop Underground Convention in Olympia. The first night of the event became known as "Girl Night".[59] Tucker played her first show that night, on guitar and vocals with Heavens to Betsy and Tracy Sawyer on drums.[51][59] Writing later about that summer, Melissa Klein (Wolfe's housemate at the time) said, "Young women's anger and questioning fomented and smoldered until it became an all-out gathering of momentum toward action...Bikini Kill promoted 'Revolution Girl Style Now' and 'Stop the J-Word Jealousy From Killing Girl Love'."[35] As this ideal spread via band tours, zines, and word of mouth, riot grrrl chapters sprang up around the country.[35]
Bikini Kill
I feel completely left out of the realm of everything that is so important to me. And I know that this is partly because punk rock is for and by boys mostly and partly because punk rock of this generation is coming of age in a time of mindless career-goal bands.[61]
With
After releasing the
Despite retrospective acclaim, at the time the band was criticized for excluding men, and even Rolling Stone described Bikini Kill's first album as "yowling and moronic nag-unto-vomit tantrums."[27][72] "My joke is always like, I didn't just hit the glass ceiling, I pressed my naked [breasts] up against it," Hanna said of that time.[27] Bikini Kill eventually called for a "media blackout" due to their perceived misrepresentation of the movement by the media.[73] Their pioneer reputation endures but, as Hanna recalls:
[Bikini Kill was] very vilified during the '90s by so many people, and hated by so many people, and I think that that's been kind of written out of the history. People were throwing chains at our heads – people hated us – and it was really, really hard to be in that band.[74]
Bratmobile
Hailing from Eugene, Oregon, Bratmobile was a first-generation riot grrrl band that became the second-most prominent founding voice of the riot grrrl movement. In 1990, University of Oregon students Allison Wolfe and Molly Neuman collaborated on feminist zine Girl Germs with Washington, D.C.'s Jen Smith, touching on sexism in their local music scenes.[61]
We were very encouraged by people like Tobi and Kathleen in Olympia, and we were like, "Oh let's do a band, let's do radio—we wanna [sic] have an all-girl radio show!"[11]
During spring 1991,
Erin Smith, Jen Smith, Billotte, Wolfe, and Neuman released only one tape together, titled Bratmobile DC.[76][77] Thereafter, Bratmobile became a trio with Wolfe, Neuman, and Erin Smith. They played their first show together as Bratmobile in July 1991, with Neuman on drums, Erin Smith on guitar, and Wolfe on vocals.[50]
Between 1991 and 1994 Bratmobile released the album
International Pop Underground Convention
From August 20 – 25, 1991, K Records held an indie music festival in Olympia called the International Pop Underground Convention (or IPU).[79][80][81][82][83] A promotional poster reads:
As the corporate ogre expands its creeping influence on the minds of industrialized youth, the time has come for the International Rockers of the World to convene in celebration of our grand independence. Hangman
A mostly all-female bill on the first night, called "Love Rock Revolution Girl Style Now!" and later simply "Girl Night", signaled a major step in the movement.
An exceptionally large number of
Spread of North America riot grrrl
Exposure to Bikini Kill and then Bratmobile inspired other riot grrrl factions to spring up around the United States and Canada. Women in other regional punk music scenes across North America were encouraged to form their own bands and start their own zines.[11] While Bikini Kill, amongst other bands, frequently avoided attention from mainstream media outlets due to the fear that riot grrrl would be co-opted by corporate enterprises, in the few interviews they did take, they often made the movement out to be bigger than it was, claiming the music scene existed in cities far beyond its actual scope. This encouraged feminists to seek out said scenes, and when they couldn't find them, they created them on their own, further broadening riot grrrl's scope.[59]
From July 31 to August 2, 1992, the first Riot Grrrl Convention brought people together in Washington, D.C. for a weekend of performances and workshops on topics such as rape, sexuality, racism, domestic violence, and self-defense.[35][37] A promotional flier reads:
Calling all grrrls and women! The riot grrrls in and around Washington DC are organizing a three-day riot grrrl convention this summer. We invite all grrrl and feminist bands and performers, grrrl fanzine writers, and energetic grrrls and boys from across the country to contribute their skills, energy, anger, creativity and curiosity. We will be having at least three shows, as well as workshops on everything from self-defense, to how to run a soundboard and how to lay out a zine. Plus, there will be a lot of time to talk with other women about how we fit (or don't fit!) in the punk community.[85]
By 1994, riot grrrl had been discovered by the mainstream, and Bikini Kill were increasingly referred to as pioneers of the movement.
English riot grrrl
As Bikini Kill's music and zines spread throughout England in 1991–92, bands formed and were quick to embrace riot grrrl.[3] England had previously spawned such influential all-female or female-fronted punk bands as X-Ray Spex, The Slits, and The Raincoats that provided inspiration.[3][13]
UK zines that wrote about riot grrrl at the time included Girlfrenzy and Ablaze!.[91]
Decline and later developments
This section needs additional citations for verification. (August 2022) |
By the mid-nineties, riot grrrl had severely splintered. Many within the movement felt that the mainstream media had completely misrepresented their message, and that the politically radical aspects of riot grrrl had been subverted by the likes of the Spice Girls and their "girl power" message, or co-opted by ostensibly women-centered bands (though sometimes with only one female performer per band) and festivals like Lilith Fair.[97]
Of the original riot grrrl bands, Bratmobile, Heavens to Betsy and Huggy Bear had split in 1994,
Many of the women involved in riot grrrl are still active in creating politically charged music. Kathleen Hanna went on to found the electro-feminist
Feminism and riot grrrl culture
Riot grrrl culture is often associated with
An undated, typewritten Bikini Kill tour flier answers the question "What is Riot grrrl?" with:
"[Riot Grrrl is ...] Because we girls want to create mediums that speak to US. We are tired of boy band after boy band, boy zine after boy zine, boy punk after boy punk after boy... Because we need to talk to each other. Communication and inclusion are key. We will never know if we don't break the code of silence... Because in every form of media we see ourselves slapped, decapitated, laughed at, objectified, raped, trivialized, pushed, ignored, stereotyped, kicked, scorned, molested, silenced, invalidated, knifed, shot, choked and killed. Because a safe space needs to be created for girls where we can open our eyes and reach out to each other without being threatened by this sexist society and our day to day bullshit."[108]
The riot grrrl movement encouraged women to develop their own place in a male-dominated punk scene. Punk shows had come to be understood as places where "women could make their way to the front of the crowd into the
In contrast, riot grrrl bands would often actively invite members of the audience to talk about their personal experiences with sensitive issues such as sexual abuse, pass out lyric sheets to everyone in the audience, and often demand that the mosh boys move to the back or side to allow space in front for the girls in the audience.[64] The bands weren't always enthusiastically received at shows by male audience members. Punk Planet editor Daniel Sinker wrote in We Owe You Nothing:
The vehemence fanzines large and small reserved for riot grrrl – and Bikini Kill in particular – was shocking. The
dykes' was proof-positive that sexism was still strong in the punk scene.[110]
Kathi Wilcox said in a fanzine interview:
I've been in a state of surprise for several years about this very thing. I don't know why so-called punk rockers are so threatened by a little shake-up of the truly boring dynamic of the standard show atmosphere. How fresh is the idea of fifty sweaty hardcore boys slamming into each other or jumping on each others' heads? Granted, it's kind of cool to be on stage and have action in the front, much more inspiring than to look out at a crowd of zombies, but so often the survival-of-the-fittest principle is in operation in the pit, and what girl wants to go up against a pack of Rollins boys who usually only want to be extra mean to her anyway just to make her "prove" her place in the pit. This was the case when I was first going to shows, and it's sad that things haven't changed at all since. ... But it would have been so cool if at one of these shows someone onstage would have said, hey let's have more girls up in the front, just so I could have had more company and girls over to side could have seen better/been in the action. So yeah, we do encourage girls to the front, and sometimes when shows have gotten really violent (like when we were in England) we had to ask the boys to move to the side or the back because it was just too fucking scary for us, after several attacks and threats, to face another sea of hostile boy-faces right in the front.[111]
Kathleen Hanna later wrote: "It was also super schizo to play shows where guys threw stuff at us, called us cunts and yelled "take it off" during our set, and then the next night perform for throngs of amazing girls singing along to every lyric and cheering after every song."[60]
Many men were supporters of riot grrrl culture and acts. Calvin Johnson and Slim Moon have been instrumental in publishing riot grrrl bands on the labels they founded, K Records and Kill Rock Stars respectively. Alec Empire of Atari Teenage Riot said, "I was totally into the riot grrrl music, I see it as a very important form of expression. I learned a lot from that, way more maybe than from 'male' punk rock."[112] Dave Grohl and Kurt Cobain dated Kathleen Hanna and Tobi Vail (also respectively), and often played with Bikini Kill even after splitting with them; Kurt was a big fan of the Slits and even convinced the Raincoats to reform. He once said, "The future of rock belongs to women."[113] Many riot grrrl bands included male band members, such as Billy Karren of Bikini Kill or Jon Slade and Chris Rawley of Huggy Bear.
The
Scholars have argued that riot grrrl remains relevant on a global scale because it engages with "everyday politics" or the ways that people in their day-to-day activities participate in or experience power dynamics.[118] It allows grrrls to connect their interests and contemporary lives to urgent political issues in personal and subversive ways.[119] One way riot grrrl achieved this was through language that centered young women and girls as political subjects with agency and power, in a way that broke away from historical models of feminism and radical speech.[120] This "history-in-the-making" approach aligned well with riot grrrl's devotion to DIY.[120]
Zines and publications
Even as the Seattle-area rock scene came to international
Riot grrrl's momentum was also hugely supported by an explosion of creativity in homemade cut and paste,
These zines were archived by zinewiki.com, and Riot Grrrl Press, started in Washington DC in 1992 by Erika Reinstein & May Summer.[122]
Bands often attempted to
Other riot grrrl zines such as Ramdasha Bikceem's GUNK, started in 1990 when she was 15, focused on the intersections of punk, gender, and racism.[116] Bikceem, from New Jersey, had found out about riot grrrl zines after a friend became Tobi Vail's roommate in Olympia. Bikceem's band Gunk performed at the first Riot Grrrl Convention in D.C. in 1992.[123][124] In GUNK #4 Bikceem wrote about the politics of being a Black grrrl, "I'll go out somewhere with my friends who all look equally as weird as me, but say we get hassled by the cops for skating or something. That cop is going to remember my face a lot clearer than say one of my white girlfriends."[116] Mimi Thi Nguyen's Slant and Sabrina Margarita Alcantara-Tan's Bamboo Girl critiqued riot grrrl from the perspective of Asian American girls.[116][125][126] In 1997, Nguyen published the compilation zine Evolution of a Race Riot.[125]
In the mid-1990s, zines were also published on the Internet as e-zines.[127] Websites such as Gurl.com and ChickClick were created out of dissatisfaction of media available to women and parodied content found in mainstream teen and women's magazines.[128][129] Both Gurl.com and ChickClick had a message board and free web hosting services, where users could also create and contribute their own content, which in turn created a reciprocal relationship where women could also be seen as creators rather than consumers.[127][130]: 154
Starting during the fall of 2010, the "Riot Grrrl Collection" has been housed at New York University's Fales Library and Special Collections, as "The Fales Riot Grrrl Collection". The collection's primary mandate is "to collect unique materials that provide documentation of the creative process of individuals and the chronology of the [Riot Grrrl] movement overall".[131] Kathleen Hanna, Molly Neuman, Allison Wolfe, Ramdasha Bikceem, Johanna Fateman, Becca Albee (co-founder of Excuse 17), Lucy Thane, Tammy Rae Carland, and Mimi Thi Nguyen have donated primary source material.[131] The collection is the brainchild of Lisa Darms, Senior Archivist at the Fales Library. According to Jenna Freedman, a librarian who maintains a zine collection at Barnard College, "It's just essential to preserve the activist voices in their own unmediated work, especially because of the media blackout that they called for". Kathleen Hanna, while understanding no collection can replicate the concert experience, feels the collection is a safe place that will be "free from feminist erasure".[131][132]
Media misconceptions
At first most Riot Grrrls were open to using the media as a way to spread the word to other girls. Shortly thereafter, however, feeling that they had been misrepresented, trivialized, commercialized, and made into a new fad and trend, the Riot Grrrls changed their minds.[133]
As media attention increasingly focused on the emerging grunge and alternative rock scene in the mid-nineties, the term "Riot Grrrl" was often used as a catchall for female-fronted bands and applied to less political alternative rock acts. While many female-centric or all-women rock bands, such as Frightwig, Hole, 7 Year Bitch, Babes in Toyland, the Breeders, the Gits, Lunachicks, Liz Phair, Veruca Salt, and L7, shared similar DIY tactics and feminist ideologies with the riot grrrl movement, not all of these acts self-identified with the riot grrrl label.[3][13] "It used to frustrate me when posters would say 'all-girl band' or 'riot grrrl'," recalled L7's Donita Sparks. "We cheered loudly when we went to Italy: it said, 'Rock from the USA.'"[134] Courtney Love, in particular, felt the need to disassociate with Riot Grrrl as a whole:
As supportive as I am of them, there's a faction that says, "We don't know how to play, but we're not going to follow your male-measured idea of what good is." Look, good is Led Zeppelin II. That's fucking good. And I'm not going to sit here and say you're a good band when you suck. They're like, "But we're entitled to suck." Really? We work so hard to get good at what we do without covering up who we are as women.[40]
To their chagrin, in 1992 riot grrrls found themselves in the media spotlight of magazines from Seventeen to Newsweek.[135][136] Newsweek's headline was "Riot Girl is feminism with a loud happy face dotting the 'i'," and USA Today ran a headline saying "From hundreds of once pink, frilly bedrooms comes the young feminist revolution."[37] Fallout from the media coverage led to resignations from the movement, including Jessica Hopper, a teenage music critic who was at the center of the Newsweek article.[137] Hopper, later the author of The First Collection of Criticism by a Living Female Rock Critic, said, "Some people were really upset because I talked to mainstream media about what I felt riot grrrl was...At the time there was much more of a chasm between the underground and the mainstream and people didn't want mainstream girls showing up to this, and I just thought, I didn't want to be part of something that wasn't for all women."[137] To ease tension, Kathleen Hanna called a "media blackout" for that year.
In an essay from January 1994 that had been included in the double compact disc release of Bikini Kill's first two albums, Tobi Vail responded to media misrepresentation of Bikini Kill and riot grrrl in general:
One huge misconception for instance that has been repeated over and over again in magazines we have never spoken to and also by those who believe these sources without checking things out themselves is that Bikini Kill is the definitive 'riot girl band' ... We are not in anyway 'leaders of' or authorities on the 'Riot Girl' movement. In fact, as individuals we have each had different experiences with, feelings on, opinions of and varying degrees of involvement with 'Riot Girl' and though we totally respect those who still feel that label is important and meaningful to them, we have never used that term to describe ourselves AS A BAND. As individuals we respect and utilize and subscribe to a variety of different aesthetics, strategies, and beliefs, both political and punk-wise, some of which are probably considered 'riot girl.'[138]
There were a lot of very important ideas that I think the mainstream media couldn't handle, so it was easier to focus on the fact that these were girls who were wearing
barrettesin their hair or writing 'slut' on their stomach.
Corin Tucker stated:
I think it was deliberate that we were made to look like we were just ridiculous girls parading around in our underwear. They refused to do serious interviews with us, they misprinted what we had to say, they would take our articles, and our fanzines, and our essays and take them
out of context. We wrote a lot about sexual abuse and sexual assault for teenagers and young women. I think those are really important concepts that the media never addressed.[139]
Other female-fronted punk bands, such as Spitboy, were less comfortable with the childhood-centered issues of much of the riot grrrl aesthetic, but nonetheless dealt explicitly with feminist and related issues as well.[140] Lesbian-centric Queercore[141] bands, such as Fifth Column, Tribe 8, Adickdid, the Third Sex, Excuse 17, and Team Dresch, wrote songs dealing with matters specific to women and their position in society, exploring issues such as both sexual[142] and gender identity.[143] A documentary film put together by a San Diego psychiatrist, Dr. Lisa Rose Apramian, Not Bad for a Girl, explored some of these issues in interviews with many of the musicians in the riot grrrl scene at the time.[144]
Criticism
The "Riot Grrrl" movement received criticism for not being inclusive enough. Emily White wrote for the This criticism emerged early in the movement. In 1993, Ramdasha Bikceem wrote in her zine, Gunk,
Riot grrrl calls for change, but I question who it's including ... I see Riot Grrrl growing very closed to a very few i.e. white middle class punk girls.[108]
Riot grrrl, especially in the 1990s, focused heavily on the use of the body as "message boards" for public demonstration.
Musician Courtney Love criticized the movement for being too doctrinaire and censorious:
Look, you've got these highly intelligent imperious girls, but who told them it was their undeniable American right not to be offended? Being offended is part of being in the real world. I'm offended every time I see George Bush on TV![151]
Some have suggested that, while riot grrrl bands worked to ensure their shows were safe spaces in which women could find solidarity and create their own subculture, some higher-profile riot grrrl bands participated in the Michigan Womyn's Music Festival, a trans-exclusionary event that had a "womyn-born womyn" policy. Former members of Le Tigre saw protests at their shows for having participated in the festival in 2001 and 2005.[152] However, Kathleen Hanna stated directly that she supported trans rights on her own Twitter account.[153] Additionally, JD Samson, another former member of Le Tigre, is genderfluid.[154]
Kathleen Hanna acknowledged some of these critiques in her zine April Fools' Day. When describing her traumas related to addiction, she said: "It seems to me that each addict functions within his/her one context in terms of race, gender, location, class, personality, access, etc. … so it would be ridiculous for me to try and write a 'manifesto' or a 'universal account' of how addiction works."
Legacy and resurgence
In the foreword to the 2007 book, Riot Grrrl: Revolution Girl Style Now!, Beth Ditto writes of riot grrrl,
A movement formed by a handful of girls who felt empowered, who were angry, hilarious, and extreme through and for each other. Built on the floors of strangers' living rooms, tops of Xerox machines, snail mail, word of mouth and mixtapes, riot grrrl reinvented punk.[156]
Additionally, Ditto writes about riot grrrl's influence on her personally and on her music. She muses on the meaning of the movement for her generation,
Until I found riot grrrl, or riot grrrl found me I was just another Gloria Steinem NOW feminist trying to take a stand in shop class. Now I am a musician, a writer, a whole person.[156]
Many women write to Hanna in hopes of reviving the Riot Grrrl Movement. Hanna says, "Don't revive it, make something better". In 2013 Astria Suparak and Ceci Moss curated Alien She, an exhibition examining the impact of Riot Grrrl on artists and cultural producers. Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance—a reflection of the movement's artistic diversity and mutability.[162][163][164] It opened September 2013 at the Miller Gallery at Carnegie Mellon University in Pittsburgh, and ran through February the following year. It visited four subsequent art spaces (Vox Populi in Philadelphia, Pennsylvania, March – April 2014; Yerba Buena Center for the Arts, San Francisco, October 2014 – January 2015; Orange County Museum of Art, Newport Beach, California, February – May 2015; and Pacific Northwest College of Art: 511 Gallery and the Museum of Contemporary Craft in Portland, Oregon, September 3, 2015 – January 9, 2016[165]
The term "grrrl" (or "grrl") itself has since been co-opted or used by agencies as diverse as advocacy on behalf of the Electronic Frontier Foundation (GRRL POWER 1.0 5-PACK / Memetics for the Ladies)[166] and a roller derby league in Singapore.[167]
The resurgence of riot grrrl is clearly visible in fourth-wave feminists worldwide who cite the original movement as an interest or influence on their lives and/or their work.[168][169] Some of them are self-proclaimed riot grrrls while others consider themselves simply admirers or fans. In an age where Internet is the most accessible platform for individuals to express themselves, the fourth-wave riot grrrl community has risen in popularity in recent years. Not only do these online platforms capture discussion regarding larger topics of intersectional oppression, but they also provide space for budding feminists to express smaller issues, such as the successes and challenges of their everyday lives. Young feminists have harnessed the internet as a forum for self-determinism and genuine, open expression: a core part of the riot grrrl message that allows young adults room to decide for themselves who they are.[23]
In January 2019, Bikini Kill announced their reunion tour for the first time since their last show in Tokyo 22 years ago.
These same issues still exist, being a woman in public is very intense, whether it's in the public eye or just walking down the street at night by yourself.[103]
Vail also explained the aims of their reunion, that women discover the band and understand their history, especially those who did not have the opportunity to hear them during the original riot grrrl movement.
We're doing it because we want to be a part of this conversation about what feminism is in this moment.[103]
Global proliferation
Since its beginnings, the riot grrrl movement was attractive to many women in varied cultures. Its spread across the world established bands in Brazil, Paraguay, Israel, Australia, Malaysia, and Europe,[170] and its globalization was also aided by the distribution of zines across Asia, Europe, and South America.[171] The discovery of riot grrrl provided women across the globe with access to an outlet that challenged the dominant culture's attitudes toward the female body through a form of self-expression[170] that previously was often inaccessible to women in non-western nations.[171] In addition to becoming a vehicle of expression for equality, bands in the genre affected the status quo of the music industry by challenging the gender norms that favoured male musicians.[172]
One of the most well-known bands to come out of the globalization of the riot grrrl movement is
See also
- All-female band
- Bikini Kill
- But I'm a Cheerleader
- C86
- Foxcore
- Girl Germs
- Guerrilla Girls
- Girl power
- It Changed My Life: Bikini Kill In The UK
- Kinderwhore
- Ladies and Gentlemen, the Fabulous Stains
- List of all-women bands
- List of riot grrrl bands
- The Punk Singer
- Punk ideology
- Queercore
- Radical Act
- Rock Against Sexism
- Tank Girl
- Women in music
References
- ^ a b c Feliciano, Steve. "the Riot Grrrl Movement". New York Public Library. Archived from the original on April 3, 2019. Retrieved December 12, 2014.
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Further reading
- Gottlieb, Joanne and Gayle Wald. "Smells Like Teen Spirit: Riot Grrrls, Revolution, and Women in Independent Rock." Microphone Fiends: Youth Music and Youth Culture. Eds. Andrew Ross and Tricia Rose. New York: Routledge, 1994.
- Kaltefleiter, Caroline K. (2016). "Start your own revolution: agency and action of the Riot Grrrl network". International Journal of Sociology and Social Policy. 36 (11/12): 808–823. ISSN 0144-333X.
- Kearney, Mary Celeste. "Brought to You by Girl Power: Riot Grrrl's Networked Media Economy," Girls Make Media. New York: Routledge, 2006. ISBN 0-415-97278-7.
- Kearney, Mary Celeste. "‘Don’t Need You’: Rethinking Identity Politics and Separatism from a Grrrl Perspective," Youth Culture: Identity in a Postmodern World . Ed. Jonathan Epstein. Cambridge: Blackwell, 1998. ISBN 1557868506.
- Kearney, Mary Celeste. "The Missing Links: Riot Grrrl—Feminism—Lesbian Culture." Sexing the Groove: Popular Music and Gender. Ed. Sheila Whiteley. New York: Routledge, 1997. ISBN 0-415-14670-4.
- Leonard, Marion. "Feminism,‘Subculture’, and Grrrl Power." Sexing the Groove: Popular Music and Gender. Ed. Sheila Whiteley. New York: Routledge, 1997. ISBN 0-415-14670-4.
- Nguyen, Mimi Thi. "Riot Grrrl, Race, and Revival." Women & Performance 22. 2-3 (2012): 173-196.
External links
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