Doll Parts by ashleigh_23

Doll Parts i Grrrl Interrupted The origins of the ‘ Riot Grrrl ‘

Courtney Love: Queen of Kinderwhore

From the Stage to the Catwalk The evolution of the Kinderwhore style

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Issue #1

Editorâ&#x20AC;&#x2122;s Letter

Contents

Oh, Make Me Over

It’s my body, I’ll write what I want to

Review

Playlist

Post-Pussy Riot

Courtney Love: Queen of Kinderwhore The Story of Courtney Love & Kinderwhore

From the Stage to the Catwalk

Grrrl Interrupted

Posters

The Evolution of the Kinderwhore Look

The Riot Grrrl Revolution

Babes in Toyland, Courtney Love & Kathleen Hanna

How to Get the Look

Why Riot Grrrls wrote on their bodies

The Pretty Reckless Hit up Camden

Top 10 tracks + reviews

How One Band Inspired the Riot Grrrl Revival

Courtney Love: Queen of Kinderwhore

Courtney Love is arguably the most controversial front of many ways in which women are treated so differently woman in rock music; from drugs and fights to lawsuits within the industry. The participation of stage diving and and being kicked out of bands such as Babes in Toyland overindulgence of drugs and alcohol is, when done by a and Faith No More, she is rarely out of the public eye. male, seen as the behaviour of a typical rock star. When Having been blamed for her husband’s death and this conduct is emulated by a woman, she is scorned criticised for the tempestuous relationship Love shares for being unladylike; this is perfect example of the double with her daughter, her private life is no longer private. standard that exists when it comes to gender within the Despite being famous in her own right from fronting world of rock ‘n’ roll. While she gains plenty of criticism alternative rock band Hole and starring in films such for it, Love is constantly challenging the typical gender as ‘Sid and Nancy’ and ‘The People vs. Larry Flynt’, she roles within rock music by rejecting female stereotypes known by many as nothing more than the drug addicted, and instead adopting the male norm. loud mouthed widow of the late Kurt Cobain. Her positive Another way in which Love has challenged audiences traits often go unnoticed, with the public apparently more is through the way that she dressed. While she is now interested in hearing about her latest legal issues and known as a fashion icon, modelling for the likes of Saint drug fuelled marriage with the Nirvana front man. When Laurent and Diesel, in her earlier years she was known it comes to Love, people seem to forget all that she has for sporting a look with a more D.I.Y feel which has since been through and all that she has done for women in rock been dubbed as Kinderwhore. With clear inspiration taken music, instead choosing to focus purely on the negatives. from both the Lolita fashion and the grunge subculture, So what about the positives? the style is filled with elements of childlike femininity with Love is known for her hasty, unapologetically assertive a twist. Typically consisting of a baby doll or cutesy dress behaviour. It is rare to see an interview without being paired with knee high socks, maryjane shocked by her brash, controversial comments. shoes and red lipstick, the doll-like style had She is said to be a bitch simply for saying an unexpected dark side. Linked with the ‘I don’t identify with these what she thinks and doing what she wants; innocent look was a more rock-esque feel, with rather than being ostracised for this conduct, other female roles I’m the dresses or stockings often ripped and the she should be praised for her courage. makeup purposefully messy. This twist turned supposed to have’ Though she was an outsider of the Riot Grrrl Kinderwhore from a perfectly polished look into movement and had a well-publicised distaste a controversial, grunge inspired style. Adopted for those who associated themselves with it, Love still by Love and her friends in the early 90s, it soon became refers to herself as a feminist and prides herself on being a staple look for many female musicians and fans, able to act like any other rock star, regardless of gender. particularly Hole and Babes in Toyland, along with many In 2007, Love told NME in relation to her latest studio Riot Grrrl bands. album, ‘I’m nobody’s daughter. I’m nobody’s widow. I’m The origins of the look have been argued over countless somebody’s mother. Other than that, I don’t identify with times by Courtney Love and her rival, Kat Bjelland of these other female roles I’m supposed to have’. In one Babes in Toyland, with both of them claiming to be the short sentence, Love dismisses any typically female roles first to sport the bleached blonde hair and baby doll that anyone may try to cast her into and asserts herself dress. While Bjelland and fans claim that she was copied as an independent woman, once again challenging any by her counterpart, Love is widely credited with the look gender stereotypes that may be put upon her. due to her part in bringing it to the public and therefore In an earlier interview with NME, Love stated that ‘we increasing its popularity. Regardless of who adopted the are the regenerative propagative sex and there’s more of style first, it was very different to anything else being us and there are maybe more liberated libertine or liberal worn by female musicians. The Kinderwhore style did not versions of us in the public eye now’. She, more than most, originate as an attempt to look cool or start a new fad; it has certainly had to deal with more than her fair share of was much more calculated. sexism in the industry. After marrying Kurt Cobain, she The look was used as a way for the women to take a very was referred to as a fame whore and a groupie; accused of childlike, feminine fashion and turn it on its head by using Cobain for his commercial success, despite already mixing it with loud, violent rock music. Music journalist being a successful artist herself. One of her main issues Simon Reynolds states ‘this juxtaposition of an image of with sexism in the music industry is with stage diving, (violated) innocence with songs that graphically explored a feat that was often seen in her early shows, and the adult female sexuality was in part an attempt to rub disadvantages of it that come with being a woman. Earlier audiences’ faces in the virgin/whore dichotomy’. This on in the year, Love spoke to Petra Davis on the matter shows that the Kinderwhore look was much more than and why she no longer does it, saying ‘Why do guys do it a fleeting fashion; it was a way for women to directly and come back with their clothes on, and I can’t do it and confront gender norms and in a way, to use feminism as keep my clothes on?’. This brings attention to only one a weapon.

This is just one of the ways in which Kinderwhore is linked to Riot Grrrl, as the aesthetics of both are very centred around taking something that is seen as innocent and feminine, then mixing in an element of aggression and violence. While Kinderwhore focuses on the femininity and the doll-like fashion, Riot Grrrl emphasises the childlike style of the fanzines and the use of lipstick as a pen; although they each take a different approach, both put a major importance on the contrast of the innocent, feminine aesthetics and the hostile ferocity of the music. It wasn’t just the loud guitars and raw vocals that counteracted the Kinderwhore look; the lyrics were seen as aggressive and often provocative. The Hole song ‘Asking For It’ features the lyrics ‘Was she asking for it ? Was she asking nice?’, which can be interpreted as a reference to rape culture, a subject often broached by Riot Grrrl bands. The line suggests implications of victim blaming, with Love’s sarcastic tone expressing her aversion to the notion. By creating an innocent, doll-like appearance to accompany the brutally honest, aggressive and often feminist lyrics, it became much more than just a style. It became a statement; a way to soften the bands as a whole by finding a way to counteract the violence in the music and challenging audiences by shocking them with music that was completely different to what was expected from the band’s appearances. Whether or not Courtney Love created the look or was simply the one to bring it to the public, she was and

still is the Queen of Kinderwhore. From slip dresses and tiaras to knee high socks and maryjanes, her wardrobe is the epitome of the Kinderwhore style. What began as a statement look created to cause controversy has now, 10 years later, hit the catwalks and the high street. While the revival of the look may lack the original meaning, it is still drawn from a significant movement that often goes unmentioned and its return should certainly be celebrated by Riot Grrrls everywhere. Courtney Love has recently released a new song entitled ‘You Know My Name’ and is set to tour the UK later this year. There are also rumours of a Hole reunion after Love admitted to having rehearsed with previous members in recent weeks.

While writing this article, I discovered that Courtney Love must be none other than the hardest person in the world to contact. After countless hours and emails, and almost just as many redirections, it felt as though I was on a wild goose chase. My inbox was filled with so many messages of ‘We don’t represent her anymore’ and ‘Sorry, I don’t have a contact anymore’ that I almost began to believe that she was a figment of my imagination. As direct and open as Love may seem, I can promise you that she is just as elusive.

From the Stage to the Catwalk The Evolution of the Kinderwhore Look

There is no doubt that the Kinderwhore look originated on the stage, but in past years it has found its way to the catwalk. From Meadham Kirchoff to Saint Laurent, the look is taking over the fashion world, but is it losing its authenticity in the process?

the style to the attention of the public eye, Kat Bjelland of Babes in Toyland deserves the same, if not more recognition for her role in the creation of the look. While Love may be the face of the look, Bjelland pulled it off with an ease that nobody else seemed to manage. According to Blase, Bjelland was ‘very doll-like anyway to look at, she had that very dolllike sort of face and she was quite little, so in a sense she The original look came from the wardrobes of female fronted was always going to have that image anyway, even if it hadn’t rock bands; baby doll dresses and knee high socks, usually been deliberately exaggerated’, whereas with Love, although worn alongside smudged makeup and messy hair, which is a she pulled off the look perfectly, there was a lot more effort and complete contrast to what we think of when we see flawlessly thought that went into it. polished models walking the catwalk after hours spent with Blase goes on to say that ‘it was all very calculated and stylists perfecting their hair and makeup. Lauren Cochrane, deliberate with both Babes in Toyland and with Hole; it fashion writer at The Guardian, says, 'It s' gone was quite aggressive music and there was a from something that is a street style subculture ‘'It s' like an innocent lot of effing and blinding and screaming. I think to something that has been adopted by high ingénue on a night out that they kind of got away with it because [the fashion. The Saint Laurent version is like fashion] was contrasting that and it was sort of in the mosh pit.' the luxe version of what Courtney [Love] and subversive.’ The baby doll dresses and maryjane friends wore.' On one hand it is a revival of the shoes created a cutesy, innocent look that completely look typically worn by bands like Hole and Babes in Toyland, contrasted the aggressive, straightforward music and a little more refined, but the inspiration is still clearly there. challenged audiences. Then on the other hand, it can be seen as taking something What began as a result of a movement in music has now, that had a specific meaning at that point in time and twenty years later, moved from the stage to the catwalk, no completely changing it to fit in with high end fashion. longer being worn by rock stars, but rather models instead. Speaking to Riot Grrrl expert Cazz Blase, she explains her On how the Kinderwhore revival came about, Lauren Cochrane thoughts on how the look began, 'I think the fashion was states ‘I think you can link it back to a general move towards almost by accident and that it s' a lot of different aspects the nineties as the decade to revive.’ From jelly shoes and coming together like the whole grunge thing and bits of chunky wedges to crop tops and tie dye, the nineties as the the Kinderwhore thing and sort of bits that the bands were decade to revive.' From jelly shoes and chunky wedges to bringing together.' At its roots, the fashion was secondary crop tops and tie dye, the nineties are undeniably making to the music; a result of the different styles coming together a comeback. As one of the most influential styles and mixed with the specific musical essence of the bands. The look movements of the 90’s, grunge is definitely coming back was defined by the music that it came from as opposed to around; with flannel shirts and boyfriend jeans everywhere, it the clothes themselves. is no surprise that the Kinderwhore subculture is making an Although Courtney Love is frequently credited with bringing appearance.

While the clothes showcased on the catwalk create a clean cut, polished look in comparison to those worn by Love and Bjelland, what else could be expected ? These are outfits made by designer labels and not simply put together from various items of clothing found in thrift stores as many of Love’s outfits were. The clothes found on the catwalk are certainly different, but it is clear to see where the inspiration was drawn from. Cochrane describes the look ‘I would say the baby doll silhouette and very feminine elements like florals and peter pan collars but mixed with rougher elements like biker boots. It s' like an innocent ingénue on a night out in the mosh pit.’ She then moves her focus to a specific designer ‘Hedi Slimane [creative director] at Saint Laurent is very focused on subcultures and rock ‘n' roll so it appeals as part of a collection that looks at grunge. It s' a girly interpretation and in his hands becomes a commercial, luxury version of a look.’ Courtney Love herself has admitted to being a fan of Slimane’s work for the label, telling The Fashion Law ‘Hedi is a genius. No offense to MJ [Marc Jacobs] but he never got it right. This is what it really was. Hedi knows his shit. He got it accurate, and MJ and Anna [Sui] did not.’ She even tweeted Slimane last year saying ‘having gasms at the idea of rich ladies buying what we used to wear, finally someone got the actual look exact, no beanies’. Love’s admiration for the array of clothes should come as no surprise considering she has recently modelled for the company’s pre-autumn/winter 2013-14 collection, along with LA based musician Ariel Pink, Kim Gordon of Sonic Youth and shock rocker Marilyn Manson. The campaign is a part of the ‘Saint Laurent Music Project’ and aims to bring together Slimane’s love and knowledge of both fashion and rock ‘n’ roll. Saint Laurent have certainly made a name for themselves for their link to rock music, known for dressing stars such as Bowie and Mick Jagger, but the new marketing technique is certainly different. While the company has had lots positive feedback on the campaign, not everybody seems convinced. Comments on the brand’s Facebook and Twitter include ‘What happened to class, elegance and sophistication? You’re killing what used to be a classy, prestige brand’ and ‘@YSL

trying to be edgy with Marilyn Manson as their new face… bad, bad call!’ Meanwhile the likes of NME and other music sites seem impressed by the campaign and its authenticity. This seems to be the problem that all designers have when trying to recreate an edgier, rock inspired look; no matter how hard they try, they will always receive criticism for not being authentic enough . Is it possible for the inexpensive charity shop style of grunge to be recreated as something to be worn by celebrities and models, worth hundreds or thousands of pounds? Of course the style will have to change to some extent; it is absurd to think that people would spend hundreds of pounds to buy an item of clothing that looks like something Courtney Love would have found in a thrift store for $10. A more refined look is to be expected from a designer label, as exact replicas would certainly not be appropriate for anything in their line. However, this should not take away from the authenticity of their style. Their inspiration and ideas were taken from the original time and movement, and while they may never be able to recreate the exact essence that the style once held, they can reinvent it in their own style, while keeping the authentic spirit of the style. It is implausible for any designer label to create anything that could be considered as completely authentic in terms of the grunge style because high end fashion is the complete opposite of the original grunge style; elegant, polished and styled perfectly. People must also understand that the time and movement is over and so it must constantly be reworked so as to become something different and exciting, as opposed to simply reworking the exact same looks every few years. This being said, the degree to which the clothing is changed is often a lot more than necessary; although it is essential for the style to be changed in order to ensure that it is appropriate for the brand, there has to be a clear connection between the original look and the one seen on the runway and in the magazines. While it is clearly difficult to alter a style in such a dramatic way, while still keeping as much authenticity as possible, it can certainly be done. Saint Laurent’s latest campaign and Kinderwhore inspired collection could be the best one found on the catwalk yet, and if the Queen of Kinderwhore herself is an open supporter, then who are we to argue?

GRRL D E T P u R R E T IN olution v e R l r r r G t io R e Th

What first began as a form of empowerment for female musicians soon turned into something more powerful than they could have ever imagined. The Riot Grrrl revolution changed the lives of women in music everywhere; musicians and fans alike, it helped them to gain power in a male dominated society and now holds a prominent place in the history of both music and feminism. Emerging in Washington in the early 1990's, the Riot Grrrl movement started as a way of confronting sexism in the music scene, with female musicians and fanzine writers calling out sexist behaviour and supporting one another. Soon, there were meetings being held and events organised to celebrate this new revolution of female empowerment. Though it began and remained primarily in the music scene, Riot Grrrl was out to bring hope and support to any women that felt like they had been a victim of sexist behaviour at any point within their lives. While many bands are linked to the Riot Grrrl movement, Bikini Kill is without a doubt was going the band that started it all. From the ‘their band tion.'’ moment they agreed to play together, be a revolu drummer Tobi Vail and vocalist Kathleen Hanna knew that Bikini Kill was going to be much more than just another band. In the words of Sara Marcus, ‘their band was going to be a revolution. They would settle for nothing less.’ Alongside the band, Vail ran a fanzine under the name of ‘Jigsaw’ in which she wrote about the band’s beginnings ‘Not only is BK and Revolution Girl Style Now ready to indoctrinate the universe but there is one big time explosion of bands happening.’ The term Revolution Girl Style Now eventually changed to Riot Grrrl, a term coined by Vail and Hanna themselves. This originated as the name of a feminist fanzine that the girls created to hand out at shows and reach out to other girls in the area. Although they knew that they were about to be a part of something big; something explosive, nothing quite prepared them for the impact that they were going to have. Hanna had always had an interest in feminism, having previously worked for a domestic violence shelter helping young women overcome their problems, and after meeting Vail, found that she felt the same. Both were angry at the way

that women were being treated by society; their apparent ignorance of the need for feminism and the need for women to stick together and be strong, instead of bitching and falling in line behind men as if it were their only choice. With Vail and Hanna as their leaders, an army of Riot Grrrl bands was formed; Cat Power, Huggy Bear, Seven Year Bitch, L7 and Bratmobile to name but a few. These bands and their fan bases were full of women who were angry with the way that sexism seemed to have found a place in society and they were determined to make a change. They were going to get up on stage and make a difference by inspiring women and showing them that they could gain power, that they didn’t have to accept sexism as a norm. They were going to cause a revolution and nothing could stop them. Despite much of the good that the movement was inevitably doing, particularly for young women, it received a lot of criticism at the time. Newspapers wrote about the ‘man hate’ that Bikini Kill and Bratmobile portrayed on to stage and in their lyrics; what was in reality a pro-girl, feminist message was perceived by men as sexism. Yet it wasn’t only men that disagreed with the Riot Grrrls, as many women at the time did not identify as feminists, claiming that there was no need for feminism. Others thought that being a feminist meant being gay or unladylike; one female reporter for USA today wrote about the ‘teen angsters’ , claiming that the Riot Grrrls were ‘self-absorbed’ and unshaven. Lots of men in the scene labelled them as ‘bitches’, which was exactly what they were fighting against. If anything, much of this criticism did nothing more than prove that there was a need for this movement and for a revolution. Their agenda was to fight against the prejudice that they received for being women and in response, they were met with even more bias. For many girls being a part of Riot Grrrl wasn’t just about their favourite bands, it was much more than that. It made them feel as though they belonged and that they could make a difference. Many of the young girls taken in by the Riot Grrrl movement were misfits, looking for a place to fit in where they could feel like they were no longer alone. The meetings and concerts created a place where these women could meet

like-minded people and realise that they could be On the relevance of Riot Grrrl in today’s society, a part of something bigger. Cazz Blase says, ‘I think the slut walk is a good For many girls being a part of Riot Grrrl wasn’t example of Riot Grrrl legacy because I think it’s just about their favourite bands, it was much almost like in the Bikini Kill song ‘White Boy’.’ In more than that. It made them feel as though this song, Hanna is commentating on rape culture, they belonged and that they could make a as the song begins with a male voice saying ‘I difference. Many of the young girls taken in by don’t think it’s a problem ‘cause most of the the Riot Grrrl movement were misfits, looking for girls ask for it’, going on to say ‘they may deny a place to fit in where they could feel like they it, but it’s true’. This shows that the issues that were no longer alone. The meetings and concerts Hanna was singing about are still relevant today, created a place where these women could meet yet with things like the slut walk, women are now like-minded people and realise that they could be able to stand up for themselves and fight back. a part of something bigger. It was born in a time Of course, this is not only accredited to Bikini Kill where feminism focused more on how to juggle or Riot Grrrl, but it is undeniably still relevant in a family with a career, something that was today’s society and has certainly helped to make a important, but very limited in who it was aimed difference in feminism. towards. It seemed to brush over the younger We also cannot forget about Pussy Riot, the generation completely, ignoring issues that feminist punk protest group that have been desperately needed addressing, such as sexual standing up and making political statements with harassment in schools or in public. Through their music at the risk of being arrested. Pussy music, Riot Grrrl found a way to bring these Riot has stated Bikini Kill as a major issues to light and make feminism accessible influence and has been labelled a new to speak Riot Grrrl band. While their political e v a h to young women. Cazz Blase says, ly e t we absolu ortrayals agenda is more widespread than p ‘what riot grrrl did was take it to the ia d e m t ains tes that of the original Riot Grrrl bands, people, you know the girls that would be out ag subordina s a n e m o interested in feminism, but didn’t feel they still hold a strong message of w that it was relevant to them and it made of feminism and freedom. Louise Distras, it relevant to them and made them feel British singer, told The Guardian ‘Pussy Riot have like they weren’t alone.’ The movement focused inspired me by showing how we absolutely have on finding a way to show young girls that to speak out against media portrayals of women feminism was important to women of all ages as subordinates and how it’s very important for and that they had a reason to fight for it. female artists to represent other women.’ This Riot Grrrl did not eliminate sexism in music, fits perfectly with the ideals of Riot Grrrl and has or otherwise, but it did have an enduring proven that there is a chance for a new wave of positive impact. It brought attention to the feminism within music. way that some women were being treated and Riot Grrrl was considerably more than a genre, or the behaviour that they were encountering at a style; it was a movement that is still important gigs and while it did not necessarily eradicate today. Whether they knew it at the time or not, this behaviour, it certainly lessened it. Through these girls changed how women were perceived in positive, honest and talented role models like music and had a major impact on the world of Vail and Hanna, women felt empowered to take feminism. Riot Grrrl was always envisioned as control of their lives and tell their stories through more than a movement, but as a revolution with music. While it may seem like it held an impact a last impression and that is exactly what it only to those at the time, the movement of Riot has become. Bands like Pussy Riot are leading a Grrrl is the reason for so many women picking new generation of feminist music and prompting up their instruments and started believing in women to feel empowered. Riot Grrrl is responsible themselves. Bands like Bikini Kill, Huggy Bear for not just influencing one generation, but every and Seven Year Bitch paved the road for not just generation since. other musicians, but for women as a whole to stand up and be proud of being feminists.

Oh, Make Me Over

As with any style, there is no exact ‘Kinderwhore’ look; from baby doll dresses and Doc Martens to peter pan collars and maryjanes, there are countless variations of what to wear and how to wear it; it all depends on what kind of style you’re looking for. Whether you’re going for the traditional Kinderwhore style or a more modern take on the grunge-inspired look, it can be hard to know where to start. Here is our perfect Kinderwhore look for a night out where you will undoubtedly stand out...

Red lipstick is an essential and a staple piece in any wardrobe, but that doesn’t mean that you have to spend a fortune on it. There are a million different shades and styles of red lipstick that it almost seems impossible to decide on which brand to buy from. NYX offers the perfect creamy, smudge resistant lipstick for only £4 in a variety of reds; our favourites are Snow White (as shown above) for a deep satin look, Electra for a brighter, more vibrant colour or Hero for something a little softer.

Almost any cute dress works well with the Kinderwhore look, but something a little loose with capped sleeves will definitely work best. Black and red are by far the best colours; they are the easiest to dress up or down and will go perfectly with red lipstick and any black accessories. This knee-length dress looks great with or without the collar, and the velvet definitely helps to gain a more formal look. While you can get cheaper if you’re going for a more casual look, this is incredible for something a little dressier. Lipstick- N YX Roun in S no w W g Lipstick hite £4

2 Selfridge £3 Dress- Miss

There are two very different shoe styles that can create the perfect Kinderwhore style; chunky boots or cute, Maryjane style shoes. The best thing to do is mix it up a little, depending on the occasion or the specific look you’re going for. Chunky boots are great for a more casual look, especially if you’re hoping to dress down an outfit, while Maryjane’s are perfect for a cuter, more child-like look. These three inch heels from Marks and Spencer’s are a great addition to dress up any outfit, especially with the cute bows detail.

While you can buy dresses with collars already attached, it’s much easier and cost effective to just have a few detachable ones that you can add to whatever you like, whenever you like. This can come in handy if you want to go for different looks but don’t have the money to be constantly buying new dresses. You can also mix it up and have a selection of collars, from plain white to something lacy or embellished for a more formal look. If you’re not up to making your own, you can buy collars from Ebay or Etsy for less than £5. Collar- Ho

memade, M odels O wn

s & S pencer Shoes- Mark £27.99

Over-the-knee socks are certainly not hard to come by, but they are often overpriced even from high street stores. While the majority of places offer one pair for £5, Primark offers a set of two for £3 in a choice of black, grey and white. These ribbed over-the-knees are perfect for keeping warm in the winter, but thinner pairs are available in the same colours for around the same price.

Sock s

et of two £3 - P rimark s

Hair- Schw arz kopft X XL Brights- S hocking Pin Ultra k £5.49

The original Kinderwhore look was all about the bleached blonde hair, which still works perfectly, but pastel hair is just as easy to do and twice as much fun. To get this look, all you need to do is buy Schwarzkopf XXL in Shocking Pink, available in Boots, Superdrug and a variety of other stores, mix in a pea sized amount with your usual conditioner until it turns from bright to pastel, and apply all over. Since you only use a small amount of dye, it should last you months! The Ultra Brights range also includes the colours Fiery Copper, Raspberry Rebel, Electric Blue, Pillar Box Red and Purple Punk.

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Whether it’s with lipstick or magic markers, Riot Grrrls were their arms and stomachs. What began as one girl making a known for the words that they scrawled across their bodies. statement rapidly became an iconic gesture for feminists and In Sara Marcus’ book, Girls to the Front: The True Story Riot Grrrls everywhere. of the Riot Grrrl Revolution, she explains the act perfectly The positive repercussions were not seen by everyone however, when she says that these girls made their bodies into signs. as expected, many of the men attending the concerts did not Words like ‘SLUT’ and ‘BITCH’ were not uncommon to see understand the meaning behind the spectacle; focusing only scribbled along the arms and stomachs of Riot Grrrls at on the scantily clad women, ignorant of the message that it concerts or in fanzines. This was a way of grabbing people’s was supposed to be sending. Much of the media also seemed attention; something to make the to overlook the implications of what bands a ' s if the word RAPE on one’s public not only notice them, but like Bikini Kill were doing. In regards to a listen to them. It wasn’t a fashion stomach were nothing more than a USA Today article, Marcus describes their statement but a political statement curious fashion statement ' complete lack of awareness at what the girls and the leader behind their party was were doing, ‘The girls’ practice of inscribing Kathleen Hanna of Bikini Kill. words on their bodies was mentioned in the same breath as Hanna was interested in Women’s Studies and as a selfboots and piercings, as if the word RAPE on one’s stomach proclaimed feminist was one of the founding members of the were nothing more than a curious fashion statement.’ Riot Grrrl movement. In an early art piece in college, Hanna Although it did not have the desired affect with everyone, writing took a childhood photo of herself from a pageant, dressed in derogatory or statement words on their arms had a major a tiara and a bikini and scrawled the word ‘SLUT’ around impact within the Riot Grrrl movement. It gave many of the the background. She found that writing negative words like girls a chance to express themselves freely and challenge not this on herself during shows was a way of challenging the only males at shows, but also society in general by shocking audience and making them think about the words that they them and making them think about the words that were were using. She once told a friend ‘I write the word SLUT scrawled along their skin. It was a statement done so boldly on my stomach because guys always think that. When you that it was almost impossible to disregard. By challenging take off your shirt they think ‘Oh what a slut’ and it’s really the audience in such a daring, brash way, Hanna and friends funny because think that and then they look at you and it were changing the way that women were seen at rock shows and says it.’ She used her power as an influential front woman giving them a chance to feel just as important, if not more to become an advocate for women’s rights and challenge important than the men they were surrounded by. members of society that didn’t understand or agree with the essence of Riot Grrrl. According to Marcus, ‘Kathleen, by writing words on her body, was consciously merging these streams of feminist art and activist visuals. And now she was enlisting a whole generation of girls in that project.’ Hanna was the initiator of women using their bodies as a way of protest and she was using her music as a way to get her voice heard. As arguably the most important band in the Riot Grrrl movement, it is no surprise that this phenomenon began with Bikini Kill. They inspired not only fans, but also other bands to stand up for themselves; Courtney Love even took a leaf out of Hanna’s book, often seen with words like ‘SLUT’ and ‘BITCH’ written on her arms, despite her public indifference to Riot Grrrl. Whether she intended it or not, Hanna’s actions gave way to a whole movement of women ‘confronting audiences with what they might want to see (a topless woman) and what they might think of such a woman, all in one fell semiotic swoop’ as put by Marcus. Soon, fans were turning up to concerts and posing in fanzines with words and symbols written along

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Review

The Pretty Reckless 24/03/14 Electric Ballroom, Camden Taylor Momsen is a goddess; there is no doubt about it. With successful careers as an actress, model, singer, songwriter and performer, it seems that she can do no wrong. Arguably her greatest creation so far is the band’s most recent album ‘Going To Hell’ and the tour that accompanied it. Clad in leather trousers and a baggy vest top sporting the ‘Going to Hell’ logo, Taylor Momsen looked nothing short of incredible as she took to the stage. Strolling on to the risqué introduction of ‘Follow Me Down’, complete with fake orgasm sounds from Momsen’s close friend and porn star, Jenna Haze, The Pretty Reckless were sure to make a captivating entrance. From the moment that they hit the stage, the 20 year old managed to hold the attention of each and every person in the room, with all eyes fixed on Momsen as she hid behind her hair. After just finishing their supporting slot on Fall Out Boy’s ‘Save Rock and Roll’ tour, the band were indisputably ready to take over as a headlining act. With a set list consisting of five of the band’s singles, including ‘Zombie’ from their ‘The Pretty Reckless EP’, there was almost no way that they could go wrong. The set also consisted of a few surprises; ‘S weet Things’, which Momsen revealed to be the band’s next single, began a little differently than on the album. The introduction of the song was taken from an audiobook transcript telling the audience that it was ‘the story of Peter and the wolf and that ‘each character in this tale is going to be represented by a different instrument of the orchestra’. This is taken from an orchestra by Prokofiev, which opens with the same line, then goes on to soft music, giving the opposite effect to the harsh guitars of ‘S weet Things’. The unexpected twist was an interesting contradiction to the original and executed perfectly. The crowd were excitable and enthusiastic, never seeming to calm down throughout the short, one hour set. Despite the constant cheers, Momsen remained seemingly unimpressed with the fans attempt to sing back during ‘Going to Hell’, looking on to the screaming crowd supposedly unconvinced, encouraging their cries to get louder and louder until finally launching back into the song. As ‘Going To Hell’ finished, the set came to an end with the lights blacking out and the band leaving the stage only to reappear shortly afterwards to the ear-piercing pleas of the crowd for the encore of ‘Fucked Up World’, one of the slower songs from the band’s latest album and one of the best of the show. The night came to a close as Momsen muttered ‘by the way, you’re all going to fucking hell’. Ending on a high, The Pretty Reckless put on an incredible show and Taylor Momsen proved her capability as one of rock’s most talented women.

As the first single to be released after Courtney Love’s admittedly disappointing solo album, ‘Skinny Little Bitch’ seems like a ‘fuck you’ to those who thought that Love’s days of creating unapologetically fierce music were long gone. Easily one of the best songs on the album, it showcases Love’s talent to perfectly combine purely raw emotion with poetic, hard-hitting lyrics. With lines like ‘in my vile sex whore and my cheap drugs hell’ and ‘your bedroom walls have fallen down and everyone can see you now’, it is by far one of Hole’s most brutally honest songs, setting the tone for the rest of the album.

Hole- Skinny Little Bitch

The Dollyrots- Twist me to the Left

3 Bikini Kill- Rebel Girl 4

The Aquadolls- Rich Boyz

5 Seven Year Bitch- Hip Like Junk 6

In true Kat Bjelland style, ‘Catatonic’ is complete with low growls, blasé drawling and of course, unashamed screaming. As the only single from the band’s first EP, it is as bold as it is loud, giving an openly honest first impression of the band. Arguably the song’s best feat is the flawless portrayal of Bjelland’s capability to counteract her haunting vocals with direct, aggressive lyrics. The chorus ‘1-2-3-4-5 glad you’re not alive, 6-7-8-9-10 back to hell again’ is a striking example of the straight-forward, hostile lyrics that Babes are known for.

Pussy Riot- Putin Lights up the Fire

7 Babes in Toyland- Catatonic 8

From arguably Hole’s best album ‘Live Through This’, it would feel almost blasphemous not to include ‘Doll Parts’. Despite being one of the band’s gentler songs, it certainly lacks nothing in terms of emotion. You can almost feel Love’s pain through the unusually soft vocals, as the song comes to a close with her repeating the phrase ‘and someday you will ache like I ache’, the aggression building with each utterance until you almost feel her giving up in the last line. Listening to ‘Doll Parts’ is like reading a page from Love’s diary; filled with heartache and honesty, it should certainly not go unheard.

Loud guitars, unique vocals and a chorus you’ll be singing for days; Bikini Kill held nothing back with the creation of Rebel Girl. The words ‘love you like a sister always’ show the band’s ambition of bringing women together and supporting each other. It is undoubtedly a Riot Grrrl anthem with lyrics full of feminist love and Kathleen Hanna’s all-encompassing voice. Opening with Hanna almost speaking the words ‘that girl thinks she’s the queen of the neighbourhood’, going on to showcase Hanna’s powerful singing and the occasional scream, the song establishes both Hanna and Bikini Kill’s ability to effortlessly do anything that they set their mind to.

The Muffs- Rock and Roll Girl

Hole- Doll Parts

The brutally open and somewhat violent, ‘Hip Like Junk’ is exactly what it intends to be; loud, aggressive and in your face. The lyrics ‘you’re kickin’ back in to a once kicked habit’ are a clear reference to loss of Sargent, the band’s former guitarist, tragically lost to a heroin overdose the previous year. The anger and emotion of the band is felt through the honesty of the lyrics and the thrashing guitars; this song takes Seven Year Bitch to the next stratum.

10 The Pretty Reckless- Why'd You Bring a Shotgun to the Party?

The Pretty Reckless is set to be playing Download and the Isle of Wight Festival this summer. The album ‘Going to Hell’ is out now. 33

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Post-Pussy Riot

In recent years, Pussy Riot has taken the worlds of music, most definitely a surge of strong women in rock music. Tobi feminism and media by storm; they are a Russian feminist Vail claimed Finally Punk to be ‘the band Bikini Kill was punk rock band known for staging impromptu performances trying to inspire with Riot Grrrl’, going on to describe their protesting against religious and political views. Arguably music as ‘hilarious, true and liberating’. While rock music the most controversial band in recent years, Pussy Riot has historically been a male dominated industry, has come under fire from the Russian women seem to be pushing their way in, 'I was afraid of shit getting government and has had several members with successful front women like Hayley arrested and attacked for their provocative thrown at my head and guys Williams (Paramore), Taylor Momsen performances. The group has gained an beating me up, not being thrown (The Pretty Reckless) and Jenna McDougall (Tonight Alive), proving that overwhelming amount of support from in jail.' they are just as good, if not better than those all around the world, including that their male counterparts. of many musicians. Tobi Vail of Bikini Talking to Melissa Brooks of The Aquadolls, it becomes clear Kill claimed that they were ‘the only band that matters in 2012.’ Kathleen Hanna has also voiced public support for as to why a Riot Grrrl revival is necessary. The LA native speaks about the prejudice that women habitually encounter the masked activists, claiming that ‘what they have done thus in the industry ‘people have these stereotypes of girls in far is way more dangerous because of the political climate bands; they’re seen as either too cute or too slutty and they live in. I was afraid of shit getting thrown at my head they’re shamed for that. It’s ridiculous’. She goes on to say and guys beating me up, not being thrown in jail.’ Despite constantly putting themselves at risk by standing up for that ‘the music industry seems to find a way to manipulate girls into becoming a sex symbol or whatever, but it’s what they believe in, the band has not done so in vain. Since important for them to stand their ground.’ As a 19 year old being thrust into the public eye, they have done a great deal to bring attention to their cause and have become advocates for trying to find a place in the world of music with both her band and her upcoming solo project, Brooks is determined to feminism, with many modern female musicians stating the band as a major influence and inspiration for young women. stay true to herself and to remain an activist for feminism. With a ‘Riot Grrrl survival kit’ available from their website From Death of the Elephant, Pettybone and The Dollyrots to and a backlog of ‘girl power’ concerts, The Aquadolls are on The Pretty Reckless, Finally Punk and The Aquadolls, there is 36

their way to becoming one of the best Riot Grrrl bands of our time. Another female musician whose gender has caused her a large amount of prejudice is The Pretty Reckless’ Taylor Momsen. She has frequently come under fire from the media for her provocative clothing choices and has recently caused a stir with the cover of the band’s recent album ‘Going to Hell’. The cover features the 20 year old naked from behind with the band’s logo painted on her back, which has caused considerable controversy with claims that it was done as a way for Momsen to simply gain attention. Earlier in the year, the singer told Rolling Stone ‘I don’t think John Lennon was trying to shock people when he was naked on Two Virgins’; a reminder that her gender should not change the perceived reasoning for a piece of artwork. Despite a constant attempt to keep the emphasis on her music, Momsen is still primarily being asked about her previous acting career and her style. It seems that no matter how hard she tries, the media seem to care more about what she is wearing than about her successful career as a young front woman in rock. Of course, times have changed since the first wave of Riot Grrrl back in the early 90s. Feminism has come a long way and women have a lot more respect within the world of music, but the principle of the genre is still very much necessary. This new wave of Riot Grrrl has received criticism for being outdated and has been referred to as nothing more than a

rehash of what was heard in the 90s, but Riot Grrrl expert Caroline Blase disagrees ‘these things come around in cycles and they each have a special meaning to different people and I don’t think what was going on in the 90s is necessarily better than what’s going on now, I just think it’s different.’ Regardless of how the genre has transformed through the years, it remains an important outlet for young women to express themselves and feel empowered. The significance of the music is debatable, but the beliefs and attitudes that come with it are not; Riot Grrrl has had a major impact on the way in which women are seen in the industry and has certainly had a positive impact on women all around the world. Bands like Pussy Riot have played a major part in the resurgence of feminist bands and just because they are different to the original Riot Grrrl bands, they should not be seen as any less important. In terms of where the new wave of Riot Grrrl is heading, Blase states ‘people are using music less in the form of protest, which I think is a general feminist trend’, claiming that although the music is still important, the focus has more recently moved to campaigning and fanzines. Whether or not the music is at the centre of the movement, it is empowering to see that Riot Grrrl is coming back around and that what began as a few small bands in Washington has emerged into something so significant and still remains to have an impact on today’s music. 37

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