(R)EVOLUTION GRRRL STYLE NOW! by Samiksha

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YA DA RE YA DARE

29.07.2021

MOXIE MOXIE MOXIE MOXIE

BIKINI KILL BRATMOBILE

RIOT GRRRLS

A N R T TO SC

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Editor’s Note

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Punk ideology set the groundwork and punk history demonstrated the potential for young people like the riot grrrls to successfully participate in music production and performance, as well as to create and distribute political literature, while simultaneously subverting the mainstream music and publishing industries.

In April 2011, I attended a panel on women in the music industry at which panelist Allison Wolfe, a founding member of the riot grrrl movement and lead singer of the seminal riot grrrl band Bratmobile, proclaimed that riot grrrl had been effectively over since the mid-1990s (“Women Who Rock”). “Did she just say that riot grrrl is dead?” my friend immediately scribbled to me. “Then what are we?” What was the current legacy of the riot grrrl movement? Was it really dead and gone, or could the current activities of young radical feminist grrrls still be considered a part of riot grrrl?

is that contemporary riot grrrl activism is indeed alive and well and actually thriving in communities all over the world, but in diverse and intentionally modified forms. Contemporary riot grrrls have sustained the original movement’s ethos while transforming its feminist praxis in ways that have made the movement more accessible and relevant to their respective communities.

In this project I will critically examine the evolution of riot grrrl praxis, focusing on two specific riot grrrl demographics - founding riot grrrl chapters in the early to mid1990s What I have discovered and riot grrrl chapters through my research, and currently active in southern what I argue in this project, California today.

A RIOT OF THEIR OWN

BIKINI KILL BRATMOBILE

3 5

THE RIOT GRRRLS MANIFESTO

THE FOUR RIOT GRRRL PRAXIS

D.I.Y SUBCULTURAL THEORY INTERSECTIONALITY DISIDENTIFICATION

15 17 19 21

ZINES

THE NEW RIOT GRRRLS MANIFESTO

MOXIE

ACT LIKE A GRRRL

DEATH OF COOL

VOODOO QUEENS

I KILL

E 8 SKINNED TEENS

SKINNED

TEENS

S KS CK IC HI CH AC NA UN LU L

BRATMOBILE

EXCUSE 17 JACK OF JILL

PUSSY RIOTS

mini-’zine compiled and published by Hanna, Bratmobile’s Molly Neuman, and Allison Wolfe, and their friend Jen Smith.

“Revolution Girl Style Now” was the title of Bikini Kill’s 1991 demo cassette. Drummer Tobi Vail describes the slogan as “a call for all girls to start bands, start ‘zines and participate in the making of independent culture.’ It soon becomes a catchphrase for the nascent movement known as “Riot Grrrl,” a term that began its life in July of 1991 as the title of a handmade

“We tried to make songs that were fun and catchy and said something,” explains Bratmobile drummer Molly Neuman. “We may not have been able to play perfectly, but we did [play], and we got better. Our impetus was, ‘If that guy can do it, why can’t we?’” On August 20, 1991, in Olympia, Washington, members of Bikini Kill and Bratmobile, along with 15 other all-girl or femalefronted bands, took the stage at an event called “Love Rock Revolution Girl Style Now” or simply, “Girl Night.” Girl Night was the kickoff show of the International Pop Underground Convention (IPU), a five-day gathering

of D.I.Y. scenesters organized by K Records’ Calvin Johnson and Candice Pederson. Riot Grrrls was never a stylistically codified genre, but if any shared sensibility could be said to unite the movement musically, it was a self-conscious rejection of polish in favor of immediacy and spontaneity — a revolution you could dance to. They sang frankly and bluntly, often wresting with difficult subjects at the intersection of the personal and the political: desire, self-acceptance and their uncontainable frustration at a society in which women’s lives and futures still seemed so narrowly delimited by their gender.

“Dare you to do what you want / Dare you to be who you will / Dare you to cry right out loud,” Hanna sang in Bikini Kill’s “Double Dare Ya.”

A femi nist punk grou p ahea d of its time ...

Singer Kathleen Hanna and drummer Tobi Vailfrom American group Bikini Kill perform live on stage with Joan Jett at Irving Plaza in New York on 14th July 1994.

outside of the D.I.Y. punk underground. Bikini Kill became lightning rods for macho trolls and icons for those who wanted a more liberated, girlpositive world.

“Yeah, what we did was important and we’re really proud of it. And we can keep it in print.”

If life in Bikini Kill was interminably tough, life after Bikini Kill was briefly devastating. “I cried for like a year,”

“I just felt like I lost my family and my band at the same time and I didn’t know who I was anymore.” Hanna says

Bikini Kill were more than a band — and intentionally so. They were a beacon and a call to arms. They

Wilcox, however, was eager for anonymity. She chopped off her locks, started walking dogs in were “Girl you can do D.C. and eventually took this, too” writ large. a day job where only a The band initially began few colleagues had ever as a radical feminist trio heard of Bikini Kill — in comprised of vocalist the newsroom of the Kathleen Hanna, sceneWashington Post, where nexus drummer Tobi Vail, she worked until 2006. bassist Kathi Wilcox, and Hanna, meantime, was later, only boy Billy Karren quickly drawn back on guitar. Their sound was into the warmth of the remarkably dynamic, tough spotlight. In 1998, she and terse, sloppy and surfy formed the acclaimed — a menacing backdrop electro-pop trio Le Tigre in to their scream-along New York where she now ideology. lives with her husband, Adam “Ad-Rock” Horovitz of The Olympia, Washington- the Beastie Boys. based group became the primary party organ for “A lot of our band was just the Riot Grrrl movement, survival,” Wilcox says. “It a loose network of young was exhausting. So when female musicians, writers, we broke up, it took us and activists organized years to re-fortify. . . . Now, in opposition to the we can finally say, patriarchy inside and

Kathleen Hanna, 1993

Bratmobile back in the day: Allison Wolfe, Erin Smith and Molly Neuman

le .. . bi mo at Br as od go as be t Fa ke ba nd s sh ou ld n’

Janelle, Bratmobile would rear back and take a swing, one aimed square at the jaw of Ben Weasel.

Famously formed as the concept of a band instead of a real one, when Bratmobile actually picked up instruments and gave it a go the group quickly became a cornerstone of the budding riot grrrl scene. Its debut album Pottymouth was an album full of jittery agitations, quickly solidifying the group as one of the Pacific Northwest’s garage greats. On a follow-up EP The Real

When Bratmobile released “The Real Janelle” in 1994 it had its sights set on Weasel, calling him out with the emasculating nickname “Bennie

Weasel.” It’s all with the purpose of prodding him for his stunted concept of gender, one that was becoming increasingly counterproductive to the riot grrrl movement. Though Bratmobile would go on hiatus by the year’s end, the sting of “The Real Janelle” remained. In 1998

Weasel would offer up a rebuttal with “The Last Janelle,” a song that– in light of his infamous performance at 2011’s South By Southwest where he assaulted a female audience member–seems all the more menacing when his anger turns to words of violence against those calling him out. If anything Weasel’s fouryear-late response only solidified the prescience of both Bratmobile and riot grrrl, an irony that, if Weasel ever noticed, he’d certainly be too hardheaded to acknowledge.

The riot grrrl manifesto was published in 1991 in the BIKINI KILL ZINE 2.

The Riot Grrrl Movement began in the early 1990s by Washington State band Bikini Kill and lead singer Kathleen Hanna.

Kathleen Hanna and her band Bikini Kill at Irving Plaza in 1994.

...us girls CRAVE RECORDS AND BOOKS AND FANZINES that speak to US that WE feel included in and can understand in our own ways.

...we wanna make it easier for girls to see/hear each other’s work so that we can

SHARE STRATEGIES AND CRITICIZE-APPLAUD EACH OTHER.

in order to create our ...we must TAKE OVER the means of production

own meanings.

...viewing our work as being connected to our girlfriends-politics-real lives is essential if we are gonna figure out how we are doing IMPACTS, REFLECTS, PERPETUATES, OR DISRUPTS THE STATUS QUO.

Bratmobile at The Charlotte in Leicester, England in 1994.

Molly Neuman, Erin Smith & Allison Wolfe perform at the 1992 Riot Grrl Convention at Washington Peace Palace.

...we recognize fantasies of Instant Macho Gun Revolution as impractical lies meant to keep us simply dreaming instead of becoming our dreams and thus SEEK TO CREATE REVOLUTION IN OUR OWN LIVES every single day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things.

...we want and NEED TO ENCOURAGE AND BE ENCOURAGED in the face of all our own insecurities, in the face of beergutboyrock that tells us we can’t play our instruments, in the face of “authorities” who say our bands/zines/etc are the worst in the US and

...we don’t wanna assimilate to SOME ON

E ELSE’S (BOY) STANDARDS of wh at is or isn’t.

... we are unwilling to falter under claims that we are reactionary “reverse sexists” AND NOT THE TRUEPUNKROCKSOULCRUSADERS THAT WE KNOW we really are.

...we are interested in CREATING NON-HEIRARCHICAL WAYS OF BEING AND making music, friends, and scenes based on communication + understanding, instead of competition + good/bad categorizations.

...doing/reading/seeing/hearing cool things that validate and challenge us can help us GAIN THE STRENGTH AND SENSE OF COMMUNITY that we need in order to figure out how bullshit like racism, able-bodieism, ageism, speciesism, classism, thinism, sexism, anti-semitism and heterosexism figures in our own lives.

and girl artists of all es en sc RL GI NG TI OR PP SU ...we see FOSTERING AND

kinds as

integral to this process.

...we HATE CAPITALISM in all its forms and see our main goal as sharing information and staying alive, instead of making profits of being cool according to traditional standards.

...we are UNWILLING TO LET OUR REAL AND VALID ANGER BE DIFFUSED and/or turned against us via the internalization of sexism as witnessed in girl/girl jealousism and self defeating girltype behaviors.

...we are ANGRY AT A SOCI ETY th at tells us Girl = Dumb, Girl

= Bad, Girl = Weak.

...I believe with my wholeheartmindbody that girls CONSTITUTE A REVOLUTIONARY SOUL FORCE that can, and will change the world for real.

) F L E S R ) U F O L Y E S T R I U O O Y D ( T Y I . I O . D D ( Y . I . D Y R O E H T L A R U T L SUBCU

INTERSECTIONALITY DISIDENTIFICATION

N T E R S E C T I O N A L I T Y

S E I R E S COMIC

LETS KILLL PATRIARCHY TOGETHER! ! ! Energized by their work together and the knowledge that other likeminded feminist grrrls lived near by, riot grrrl’s founders began conceptualizing their feminist project as a grander and more cohesive

“revolution grrrl style now” in late vision of 1990.

E S U ECA

THEY ORGANIZE GIGS,

RIOT GRRLS

PUBLISH BOOKS AND

GOT THAT

‘YOU CAN DO

FANZINES, DISTRIBUTE LITERATURE

ANYTHINNG’

MENTALITY

THEY ARE MY ROLE MODELS & THEY DEMONSTRATE

THE POTENTIAL OF YOUNG ADULTS

“BECAUSE

we hate capitalism in all its forms and see our main goal as sharing information and staying alive, instead of making profits off being cool according to traditional standards”. Riot grrrl’s founders were highly influenced by the anti-corporate, often anarchist-associated DIY (do-it-yourself) principles practiced by both the lo-fi musical scene in Olympia, WA, and the local punk subculture. These ideologies were explicitly anti-capitalist and stressed the importance of creating music, art, literary works, and other necessary items independently and without the aim of financial gain. As Craig O’Hara explains in his book, The Philosophy of Punk: More Than Noise!, “the ethos of Punk

As Joel claims, “We Punks can organize gigs, publish books and fanzines, set-up mail order stores, distribute literature, encourage boycotts, and participate in political activities”. Through their participation in the local punk and DIY scenes, the riot grrrls knew the importance of getting active and involved, recognized strong ties between music and politics, and also gained knowledge of how to get the logistical resources they needed to get their bands off the ground.

The grrrls were “patently aware that the punk rock ‘you can do anything’ idea business has been ‘dois crucial to the coming it-yourself.’ This is an angry grrrl rock revolution extension of the anarchistic which seeks to save the psychic and cultural principles requiring personal responsibility and lives of girls and women everywhere, according cooperation in order to to their own terms, not build a more productive, ours”. A DIY mentality, creative, and enjoyable and the resulting support future”. of other DIY subcultural communities, made Original riot grrrls Estenson creating art and music 7 made their allegiance to more accessible and less this philosophy clear in a intimidating and supplied the riot grrrls with the clause of the now-famous confidence to engage in “Riot Grrrl Manifesto” in radical feminist activism. which they asserted,

Author Amy Spencer says “following the existing DIY

trail but incorporating a feminist agenda”. When forming Bikini Kill and Bratmobile however, the women were not only organizing independently from the mainstream music industry but also subverting the subcultural institution of the male-led and Dick Hebdige’s definition of misogynistic punk subculture in The Meaning scene.” of Style defines subculture

as the expression of discontentment with and resistance to hegemonic culture and also identifies aesthetic “style” as the vehicle through which subcultures voice this resistance. Riot grrrls fought for the ability to define what it means to be a young woman in American society and worked to change the cultural discourse through specific musical, literary, and artistic aesthetics. They utilized aesthetic

choices in an explicitly political manner to directly challenge hegemonic cultural norms. Musical performance, zine-ing, and other aesthetic choices were employed by riot grrrls as strategies of resistance to specific systems of oppression. Unlike the original movement, the contemporary riot grrrls are much less likely to possess this strong sense of subcultural identity. Some contemporary riot grrrl initiatives regularly interact and engage with mainstream culture in a sincere and goodintentioned way.

While riot grrrl’s subcultural identity has ebbed over time, its engagement with intersectional feminist theory has only grown

The importance of an intersectional approach to combating inequality is demonstrated in a clause of the “New Riot Grrrl Manifesto,” a manifesto modeled after Hanna’s original and written by members of the IE Riot Grrrl network in December 2011 that has since been circulated within their zines and internet spaces.21. The clause proclaims,

“Because I see the connectedness of all forms of oppression and I believe we need to fight them with awareness.”

This language closely models that of the original riot grrrls, particularly the clause of the original manifesto in which Hanna asserts the need to figure out how

“bullshit like racism, able-bodieism, ageism, speciesism, classism, thinism, sexism, antisemitism and heterosexism figures in our own lives” (“Riot Grrrl Manifesto”).

Further intersectional framework can be found in the introduction of the B.E.T.C.H. Rag No. 1 zine22, which states-

We’re envisioning a world without rape, where we don’t have to defend our choice to say ‘no’ or our decision to say ‘yes,’ where we don’t have to submit to rigid outdated gender roles, where our bodies are truly ours, where racism and classism don’t exist, where our differences are not tolerated, but celebrated, and we are free to love and fuck who and how we please.

The contemporary riot grrrls more fully integrate an intersectional viewpoint into their methods of activism, recognizing issues of access to riot grrrl cultures such as language barriers, physical disability, and non-female gender orientation, and often explicitly both acknowledging these identities and altering their activism to make riot grrrl more accessible to affected individuals.

In his 1999 book Disidentifications: Queers of Color and the Performance of Politics, queer theorist Muñoz creates and defines the concept of “disidentification.” According to Muñoz, disidentification is

“how those outside the racial and sexual mainstream negotiate majority culture, not by aligning themsel ves with or against exclusionary works but by transforming these works for their cultural practice”.

Both generations of riot grrrl are engaged in processes of disidentification. Although the original movement consisted primarily of white and heterosexual riot grrrls who do not fit the demographic Muñoz addresses in his book, their engagement with a punk subculture as a form of disidentification due to their position as minoritized youth, an identity from which their activism stemmed. Many of the first riot grrrls were extremely active and well connected within punk communities in Washington D.C. and the Pacific Northwest. The riot grrrls performed dominant punk media texts, inserting an intentionally female subjectivity to activities and transforming this practice to make them safe, inclusive, and empowering to other young women. By disidentifying with the punk subculture, and maintaining their associations to their local punk communities, the

original riot grrrls were able to transform both the connotations and the cultural coding of original “mainstream” punk performance. However, contemporary riot grrrls, not only disidentify from “mainstream” punk subculture, but also from the original riot grrrl movement. As the ma jority of the contemporary riot grrrls identify as queer women of color, their process of disidentification more closely aligns with Muñoz’s definition.

Tenacious began in 2003 after Vikki Law was asked to be an outside publisher and co-editor by a group of incarcerated women in Oregon after having their proposals ignored by mainstream media. Tenacious is full of articles, essays, poetry, and artwork created by formerly and currently incarcerated women. Their work covers tough topics like being HIV positive inside prison, trying to get an education, sexual harassment, motherhood behind bars, but is also full of stories of finding hope, expressive artwork, and life after incarceration.

Started in 1995 Bamboo Girl is one of the first zines of the Riot GRRRL era that tackled and confronted not only sexism but racism and homophobia from the “Filipina/API/Asian mutt feminist point of view.” The creator, Sabrina Margarita Alcantara-Tan, began her zine as many do—because she wasn’t finding any publications that spoke to her or told of her experiences. She felt like the alternative punk scene, which was supposed to be inclusive of outsiders, was full of white straight men who fetishized her and complained about their “oppression” while also asking her “what are you?”

One of the longest continuing running zine series, Ayun Halliday began it in 1998 and itshows no sign of slowing down. As the cover of the The East Village Inky no.1 states, “in which the mother of a baby struggles to reclaim some semblance of her once creative life by hand-writing a highly digressive guide to New York City’s East Village during the baby’s naptimes” each issue tells of a new adventure of raising a child in NYC. .

Girl Germs was a zine created by Allison Wolfe and Molly Neuman, members of the Bratmobile. Feminism was influential in the Pacific Northwest in the early nineties: Girl Germs identified feminist role models in its early issues and was one of the few Riot grrrl zines created by young white women to feature African American rappers. The first issue of Girl Germs was completed by December 1990.

...I NEED LAUGHTER AND I NEED LOVE. We need to build lines of communication so we can be more open and accessible to each other. ...we are being divided by our labels and philosophies and we need to ACCEPT AND SUPPORT EACH OTHER; acknowledging our different approaches to life and accepting all of them as valid.

ESSION and I believe we PR OP OF S RM FO L AL OF S ...I see the CONNECTEDNES eness. need to fight them with awar

...a safe space needs to be created for Grrrls 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. ...we need to ACKNOWLEDGE THAT OUR BLOOD IS BEING SPILLED; that right now a grrrl is being raped or battered and it might be me or you or the grrrl next to you and she might be dead by the time you finish reading this.

Judy Reif, Fran Winant, & Martha Shelley stand defiant at Second Cobgress ro United Women, May 1, 1970.

Finn Harris at Women's March. Jan 22, 2017

...I CAN’T SMILE WHEN MY FRIENDS ARE DYING INSIDE. We are dying inside and we never touch each other; we are supposed to hate each other. ... we need to talk to each other. Communication/ inclusion is key. WE NEED TO

BREAK THE SILENCE.

...we want to CREATE MEDIUMS THAT SPEAK TO US. We are tired of boy band after boy band, boy zine after boy zine.

...I am tired of these things ha

ppening to me. I AM NOT A FUCK TOY. I AM NOT A PUNCHING BAG. I AM NOT A JOKE. ...every time we pick up a pen or an instrument or get anything done. We are creating the revolution. WE ARE THE REVOLUTION.

START A FUCKING RIOT.

It’s Me. I Started Moxie. I Am Moxie.

“Hey girlfriend I got a proposition goes something like this: Dare ya to do what you want Dare ya to be who you will Dare ya to cry right out loud.” — Bikini Kill, “Hey Girlfriend”

Those “dares” sound so simple, but they’re not, particularly in high school. High school is difficult for girls, but it’s difficult for boys, too. Girls, though, have their own specific challenges navigating a conformist world, and that’s the world portrayed in “Moxie,” based on YA novel by Jennifer Mathieu. With a talented young cast, “Moxie” takes its inspiration from the riot grrrl era of the ‘90s, from Bikini Kill (the punk rock feminist band most associated with riot grrrl), and, most of all, from the riot grrrl ‘zines: selfcreated, self-designed, photo-copied, these ‘zines spread across the country. In “Moxie,” a current-day teenage girl named Vivian ignites a raging feminist movement in her high school, after discovering a treasure trove of riot grrrl memorabilia in her mother’s trunk. Directed by Amy Poehler, “Moxie” is both an awkward act of nostalgia for ‘90s activism and an attempt to push the riot grrrl legacy into the future.

ACT LIKE “No, it isn’t. My teachers say I’m too dark.” When my niece, Haviland, was 12 years old, she shared her poetry with me for the first time. I told her it was good.

“You’re 12. Of course, you’re dark. And, you are a great writer.” “I think I’d like to be a writer when I grow up. But, I know a woman can’t make a living as a writer. So, I’m going to be a teacher or a secretary.”

I was stunned. This was 2004. For my niece to think these were her only career options horrified me. Don’t get me wrong; teacher and secretary are both excellent career paths, but for an intelligent young girl to believe that those were her only choices sent me reeling. I had to do something. I was in the process of leaving my “day job” to run the theatre company I had co-founded a few years earlier. With more time to focus, could I create an opportunity to

A GRRRL blow Haviland’s mind with all the options her future could hold? Could I create a place for Haviland and girls like her to be both dark and light; angry and joyful; little girls and grown women as they journeyed to discover themselves? Out of those questions, Act Like a GRRRL (ALAG) was born overnight. ALAG is a month-long writing and performance program for girls ages 12-18. The program is augmented with visits from guest artists: empowered adult women living creative lives.

The “GRRRLS” write every day and read what they write in our circle, giving each other supportive feedback and encouraging each other to go deeper. The program concludes with a public performance where friends and family witness the GRRRLS in full voice speaking their deepest truths. We chose the name “Act Like a GRRRL” to reclaim language that is often used as an insult. In our culture, it’s never a compliment to be told you do anything “like a girl.” But a GRRRL

is something entirely different! It’s a fresh word that allows each individual to define what those “extra Rs” mean for her: “A

GRRRL is ready to take on the universe.” “A GRRRL is a burning fire in the middle of the ocean.” “A GRRRL takes all the hatred in the world and smiles as she buries it with all of her truths.”

Kathleen Hanna and Tobi Vail on stage in 1995.

T S I L Y A L P L A I T N A RIOT GRRRL ESSE

Dead Men Don’t Rape 7 Year Bitch

Double Dare Ya Bikini Kill

Love Things Bratmobile

Any Resemblance... Cold Cold Hearts

Mr. Moneybag$ Emily’s Sassy Lime

Watchmaker Excuse 17

Like This Fifth Column

Eunuch Nights Frumpies

Where the Girls Are Gossip

Social Death gSp

Me & Her Heavens to Betsy

Her Jazz Huggy Bear

Pillow Case Kisse Skinned Teen

I Wanna Be Your Joey Ramone Sleater-Kinney

V.G.I. Julie Ruin

REFERENCES Chris Richards -"Bikini Kill was a feminist punk group ahead of its time. 8 Nov, 2012. Jessica Hopper- " Sisters Outsiders: The Oral History of the ‘Bikini Kill’ EP". 15 Nov,2012.

ug to

Grrrlblog - " The Haviland Story: How It All Began". June 15, 2015.

David Anthony - " Bratmobile’s “The Real Janelle” sparked a dialogue with the pop-punk community". Apr 18, 2014. Allison Yarrow-"How the Riot Grrrl Movement Sold the World on Girl Power". 6 Jul, 2018 Lilly Estenson-" (R)Evolution Grrrl Style Now: Disidentification and Evolution within Riot Grrrl Feminism". 2012 Evelyn Mcdonnel and Elisabeth Vincentelli - Riot Grrrl United Feminism and Punk. Here’s an Essential Listening Guide. MAY 6, 2019 https://www.pexels.com/photo/adult-art-ballerina-ballet-209948/ https://www.fanpop.com/clubs/riot-grrrls/images/

“There is no concrete vision or expectation. We Riot Grrrls aren’t aligning ourselves with any one position or consensus, because in all likelihood we don’t agree on everything” -Kathleen Hanna

https://www.cartoonstock.com/

m bi tl y t i o xac u s , a nd I know e

Roger Ebert - "Moxie movie review & film summary". March 8, 2021.

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Emma Eriksson - "RRRevolution! Girl Style! Now!". March 1, 2021.

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Rachel Smith - " Revolution Girl Style, 20 Years Later". 22 Sept, 2011.

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