Grrrls to the Front!
“When she walks, the revolution's comin'
In her hips, there's revolution.” -Bikini Kill
Fed up with being viewed as groupies, girlfriends, and backup singers, girls in the 90s made their way to the front.
A counterculture that was born to be anti-establishment and fight the mainstream instead perpetuated sexism. The Riot Grrrl movement that originated in the early 90s in the PNW was a powerful source of community for many girls to combat this pattern. During the 90s punk scene, a third wave of feminism subculture emerged. Women were frustrated with the mistreatment they were experiencing at shows and in a society where being a girl is looked down upon. There were not enough figures at the front of the music scene that represented them. From this dissatisfaction came an idea about the opportunity of sisterhood. Providing a connecting force for girls who had previously been pushed aside. These girls were closer to us than we might realize; the movement originating in the PNW had figures such as Allison Wolfe, who attended the University of Oregon and was involved in the production of one of the very first zines.
An essential aspect of the Riot Grrrl puzzle was zines. Created to express the unapologetic nature of these girls and bands, these zines (mini magazines/fanzines) were filled with essays, notes, and artwork. As this was an independent publication, zines showcased how women approached the music scene where the dominance of male voices might have otherwise blocked them through other outlets. Their writings gave an open space for them to share the encounters they’ve had and the anger they had previously been forced to push down without boundaries. Whether it was poetry, personal stories, experience with sexual assault, body image issues, or the girlhood of it all, these scrapbooks gave them a gateway to see they were not alone in their circumstances. They could use this medium to communicate with other girls and share their ideas about the world around them, creating a newfound sense of sisterhood in the scene.
Originating in Olympia, Washington, at the forefront of the movement, the band Bikini Kill was led by none other than Kathleen Hanna. Kathleen Hanna was the author of the original Riot Grrrl Manifesto. This manifesto wrote out multiple objectives and hopes for the girls who identified with the movement. For example:
“BECAUSE we see fostering and supporting girl scenes and girl artists of all kinds as integral to this process.
BECAUSE we are angry at a society that tells us Girl = Dumb, Girl = Bad, Girl = Weak.
BECAUSE 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 girl type behaviors.”
(Riot Grrrl Manifesto, 1991)
Hanna was also in the band Le Tigre (1998), whose songs have become popular again. Their songs include Deceptacon (1999), Eau d’Bedroom Dancing (1999) etc. Her time spent in Bikini Kill revolved around being a feminist punk, and she famously called for “Girls to the Front!” at her shows. For so long, girls had been the group of people pushed to the back or harassed at these venues. By designating the front for them, Hanna created a space both figuratively and literally in the punk world.
“That girl thinks she’s the queen of the neighborhood
I got news for you, she is!
They say she’s a slut, but I know
she is my best friend, yeah!
Rebel girl, Rebel girl
Rebel Girl, you are the queen of my world.”
-Rebel Girl (1992)
Another band based in the PNW was Bratmobile, an iconic piece within this movement, with songs such as "Cool Schmool " (1993) and " Gimme Brains " (2000). The lead singer, Allison Wolfe, attended the University of Oregon. After that, Wolfe spent time in Olympia, where she helped create Girl Gems, a well-known fanzine. This zine was created in early 1990 and had notable writers who would be critical contributors to the movement; some included Kathleen Hanna, Jean Smith from the band Mecca Normal, and Kaia Wilson. This was one of the first zines where girls could speak freely about issues they were facing in their daily lives and navigate their way through the punk scene following identified feminist icons. The formation of the band Bratmobile was also built within this fanzine, which was a refreshing way for girls to connect to their role models.
However revolutionary the Riot Grrrl movement was, it was not without its own faults. Within the broad reach of the scene, many people were exclusive about the involvement of members. There are accounts of trans and bipoc being excluded from the Riot Grrrl Movement. That behavior should not be tolerated and has no place in feminism moving forward. It's essential to look back on transformational historical periods such as these and acknowledge the good and the bad so as not to glorify a movement that did not make everyone feel included.
Sources:
https://www.historyisaweapon.com/defcon1/riotgrrrlmanifesto.html
https://digdc.dclibrary.org/islandora/object/dcplislandora%3A38095#page/30/mode/1up
https://www.rollingstone.com/music/music-news/kathleen-hanna-rebel-girl-book-1234787457/
https://sbpress.com/2022/02/the-new-riot-grrrls/
https://www.youtube.com/watch?v=L0oeqAQ1qE8
https://www.youtube.com/watch?v=W769_7hQwJw
https://www.youtube.com/watch?v=zug8C4KcGfQ