Riot Grrrl (auch Riot Grrl oder Riot Girl; von englisch riot ‚Aufruhr' und girl Die Riot Grrrls reagierten sowohl auf die starke Überzahl männlicher Musiker und. “ – „Every girl is a Riot Grrrl!“ – „Girls to the front!“ Riot Grrrl ist eine feministische Musik-Bewegung, die im Jahr Sie nannten sich Riot Grrrls - von „riot“ für Aufruhr und „girl“ für Mädchen. Die Riot Grrrls konterkarierten das gesellschaftlich tradierte Bild vom.
Oh no, there's been an errorSchau dir unsere Auswahl an riot grrrl an, um die tollsten einzigartigen oder spezialgefertigten handgemachten Stücke aus unseren Shops für zine & magazine. “ – „Every girl is a Riot Grrrl!“ – „Girls to the front!“ Riot Grrrl ist eine feministische Musik-Bewegung, die im Jahr Ende er machten Frauenbands Lärm – und gaben dem Punk ein feministisches Gesicht. «Sternstunde Musik» blickt zurück.
Riot Girl Inhaltsverzeichnis VideoAOC Finds The One Rioting Victim She Cares About - Ep. 649
When the beginnings of the Riot Grrrl movement first began to spring up, punk rock was loud, brash, and predominantly male. Up in Seattle, flannel-clad boys in grunge bands — most notably, Nirvana — were dominating the scene.
Meanwhile, in Olympia, Washington, many feminist activists began forming loud, abrasive bands and writing their own zines in response.
Nat Paloma Kwiatkowski Scratch Jenny Raven Caine Munro Chambers Jeremy Atticus Mitchell Cracker Ajay Friese Sony Evan Marsh Devon Carson MacCormac Spit Jordana Blake Lucy Chris Mark Sean Callan Potter Todd's Titan Jake Sim Flick Alexandre Bourgeois Like other third wave feminists, riot grrrls attempted to foster an acceptance of diversity within feminist expression.
That relationship to feminism is evident through their use of lyrics, zines and publications, and taking back the meaning of derogatory terms.
All three of these forms were claimed to be a source of empowerment for women in the movement. 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 mosh pit , but had to 'fight ten times harder' because they were female, and sexually charged violence such as groping and rape had been reported.
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.
Punk Planet editor Daniel Sinker wrote in We Owe You Nothing : [ citation needed ]. The vehemence fanzines large and small reserved for riot grrrl — and Bikini Kill in particular — was shocking.
The punk zine editors' use of ' bitches ', ' cunts ', ' man-haters ', and ' dykes ' was proof-positive that sexism was still strong in the punk scene.
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. 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.
Kathleen Hanna would later write: "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.
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. He once said, "The future of rock belongs to women.
Molly Neuman once summarized: "We're not anti-boy, we're pro-girl. Influenced heavily by DIY culture , most bands' presentation subverted traditional or classically trained 'musicianship' in favor of raw, primitive, avant - lo-fi passion and fiercely deliberate amateurism: an idea growing rapidly in popularity, especially in the Olympia music scene , with bands like Beat Happening coining the slogans: "Learn how to NOT play your instrument" and "hey, you don't have to sound like the flavor of the month, all you have to do is sound like yourselves" [ citation needed ] , arguing that traditional musical skill doesn't ultimately matter and should always be subservient to the passion, the fun and ideas in their music.
These indie-punk bands and riot grrrl bands in particular were often ridiculed for "not being able to play their instruments", but fans are quick to counter that identical criticisms were often faced by the first-wave of punk rock bands in the s, and that this DIY garage amateurism "play just 'cause you wanna, no matter what" attitude was one of the most appealing and liberating aspects of both movements.
As media attention increasingly focused on grunge and alternative rock in the early 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 of these female-centric or all-women rock bands such as 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 bands or musicians self-identified with the riot grrrl label.
To their chagrin, in riot grrrls found themselves in the media spotlight gracing magazines from Seventeen to Newsweek. To ease tension, Kathleen Hanna called a "press block" for that year.
In an essay from January that had been included in the CD version of Bikini Kill's first two records, Tobi Vail responded to media misrepresentation of Bikini Kill and riot grrrl in general: [ citation needed ].
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.
Musician Sharon Cheslow stated in EMP's Riot Grrrl Retrospective documentary:. 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 barrettes in their hair or writing 'slut' on their stomach.
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.
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.
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.
Other bands and artists associated with the United States riot grrrl movement include Slant 6 , Sta-Prest , Jenny Toomey , Tattle Tale , Jack Off Jill , the Need , Nomy Lamm , Lucid Nation , the Frumpies , Bangs , and the Quails ; and in the United Kingdom, Blood Sausage , Mambo Taxi , Voodoo Queens , Pussycat Trash , Frantic Spiders , Linus , Sister George and Lungleg.
Even as the Seattle-area rock scene came to international mainstream media attention, riot grrrl remained a willfully underground phenomenon.
Records, Simple Machines , Catcall, WIIIJA and Chainsaw Records. The movement also figured fairly prominently in cassette culture , with artists often starting their own DIY cassette labels by as basic and spartan a means as recording their music onto cheap off-the-shelf boom-boxes and passing the cassettes out to friends, seldom charging anything beyond the cost of the actual tapes themselves.
Riot grrrl's momentum was also hugely supported by an explosion of creativity in defiantly homemade cut and paste, xeroxed , collagey zines that covered a variety of feminist topics, frequently attempting to draw out the political implications of intensely personal experiences in a "privately public" space.
Grrrl zine editors are collectively engaged in forms of writing and writing instruction that challenge both dominant notions of the author as an individualized, bodiless space and notions of feminism as primarily an adult political project.
These zines were archived by zinewiki. When I think of how much benefit my teenage self could have gained from the multitude of zines that have proliferated over the past decade, I weep for all the lost potential.
Except for Joan of Arc and Anne Frank , the thoughts of teenage girls have rarely been taken seriously. Bands would often attempt to reappropriate derogatory phrases like "cunt", "bitch", "dyke", and " slut ", writing them proudly on their skin with lipstick or fat markers.
Kathleen Hanna was writing "slut" on her stomach at shows as early as , intentionally fusing feminist art and activist practices.
Many of the women involved with queercore were also interested in riot grrrl, and zines such as Chainsaw by Donna Dresch , Sister Nobody , Jane Gets A Divorce and I heart Amy Carter by Tammy Rae Carland embody both movements.
There were also national conventions like in Washington, D. Starting during the fall of , the "Riot Grrrl Collection" has been housed at New York University 's Fales Library and Special Collections, as "The Fales Riot Grrrl Collection".
In Washington D. The first major Riot Grrrl event occurred in August at the International Pop Underground Convention in Washington, D.
Approximately two years after the introduction of Riot Grrrl zines, a small Riot Grrrl network formed which spread to New York, Chicago, Philadelphia, and Richmond.
Example of Riot Grrrl zine. Photo credit: flickr user: jenn. Kathleen Hanna, lead singer of Bikini Kill. Photo credit: flickr user: Courtney Jul. As more and more people discovered Riot Grrrl through zines, it eventually reached the level of mainstream press, which ranged from Sassy to Newsweek Rosenburg The increased publicity of the Riot Grrrl movement led to much confusion amongst the public.
This justification led to associating Riot Grrrl as a violent girl gang that terrorized men through their man-hating confessions.
Kathleen Hanna , eine der frühen und prominentesten Vertreterinnen der Bewegung und lange Zeit Mitglied der Bands Bikini Kill und Le Tigre , formulierte sowohl in Texten als auch in Interviews feministische Anliegen.
Kathleen Hanna begann mit Ausstellungen und einer Galerie; sie wurde zu Beginn durch Benefizveranstaltungen von Nirvana unterstützt. Thematisiert werden im Rahmen der Riot-Grrrl-Bewegung neben Gleichberechtigung und künstlerischer Verwirklichung von Frauen und Männern die Selbstverwaltung von Künstlerinnen und Künstlern und die Schaffung von alternativen Produktions- und Vertriebsstrukturen.
Riot Girl Speed Star Aya Hirano , Aki Hata. Shinya Saito Guitar by Yutaka Ishii, Bass by Katsuhiko Kurosu.