ELISABETH VINCENTELLIĪ flier from 1990 included in Hanna’s papers at the Fales Library and Special Collections of New York University. The band’s self-titled compilation is a treasure trove of arrhythmic beats and elliptical lyrics, and its debut single, “Go Far,” showcases confident, understatedly sophisticated songwriting. The Washington quartet Autoclave - not riot grrrls per se, but fellow travelers - was a decisive matrix for two of the city’s most creative musicians: the extraordinary guitarist Mary Timony (who would go on to Helium and Ex Hex, as well as a fruitful solo career) and the bassist Christina Billotte (who switched to guitar in Slant 6 and Quix*o*tic). The vocalist Selene Vigil shouts each word of the title in ascending tones, as if she’s emphatically stating a point that should be obvious. The Seattle grunge band 7 Year Bitch was generally considered riot grrrl adjacent, but few tracks expressed the radical rage of the era better than this primal scream anthem condemning sexual assault. EVELYN McDONNELL 7 Year Bitch, ‘Dead Men Don’t Rape’ (1992) If you don’t like our list, make your own. This is a list of essential riot grrrl music, one song per artist - a starting point, not a totality. Bikini Kill played its first show in more than two decades on April 25 tickets sold out immediately for its limited tour. In the past year, Kill Rock Stars produced a podcast commemorating the 25th anniversary of Bratmobile’s debut album, “Pottymouth,” and two key groups - Bikini Kill and Team Dresch - have reunited for tours and are rereleasing albums. In the wake of this riot grrrl renaissance, or resurgence, the OGs are reclaiming their place in history, and their spot on the stage. But its influence has persisted, resurfacing in the last decade with the traveling art exhibition “Alien She,” books including the young adult novel “Moxie” (optioned by Amy Poehler’s film company), and untold numbers of bands, most famously Pussy Riot. Leapt upon by the media, riot grrrl disappeared almost as quickly as it materialized - too stubborn or scared to plunge or get sucked into the mainstream. Some first saw the light of day on compilation albums like the “International Pop Underground Convention,” “Stars Kill Rock” and “Move Into Villa Villa Kula.”īikini Kill performing “Rebel Girl” at the Macondo Cultural Center in Los Angeles in 1993. The songs were put out by regional labels like K, Kill Rock Stars, Chainsaw, Outpunk and Dischord. The mantra of the day was “do it yourself.” If you wrote a good song, you recorded it as quickly and cheaply as you could, then pressed it up and stuck it inside some cut-up-graphics-style paper sleeve. But materially the music was old-school, arguably the last blast of a predigital age. Politically, riot grrrl blasted feminism into the future: Centering the needs of a new generation via direct-action strategies, witty mantras and slogans such as “girl power” and “support girl love,” it became one of the most visible branches of what was dubbed third wave feminism. And of course, there were recordings: handmade cassette tapes, small-label 45s, EPs, LPs and even CDs. There was a decentralized but effective network of activist chapters that organized protests and performances, made art and zines, and also just sat around and talked - raising consciousness one girl at a time. The term originated around 1991 almost as a joke, an offhand comment that got written into mimeographed fanzines that circulated among punk rock and feminist communities first in the Pacific Northwest and the Northeast, then across the country, and eventually around the world. The spelling itself is disputed: some OGs (original grrrls) argue two rs, others three some just say girl. A recent resurgence of punk-powered feminism - or is that girl-powered punk? - raises the question: What was, or is, riot grrrl? A movement, a genre, an era, a scene?
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