The Big Middle Bit of the Series
Tick tock, nearly Bikini Kill back in the UK moment… the TFC lecture continues. Did you know Riot Grrrl is the only music and political-social movement to come out of zine culture? The story of how feminism reached the final bastion, rock music, and normalised girls in bands.
You need to know
In the early spring of 1993, Kathleen Hanna, Tobi Vail, Billy Karren, and Kathi Wilcox – Bikini Kill, arrive in the UK and hang out with Niki Elliot, Jo Johnson, Karen Hill, Chris Rowley, and Jon Slade – Huggy Bear – and everything changes.
From now on, women in bands do not fuck my head up with their feminist statements that are completely missed by their boy and some of their girl fans (L7, Lunachicks and Babes in Toyland). Boys who wanna be Kurt Cobain wear tee shirts saying: this is what a feminist looks like.
Did you know? Kat Bjeland – Babes in Toyland – and Courtney Love – Hole – were introduced to music journalists in conversations that started by first establishing their relationships with cool feminist men, Stuart Gray – frontman for experimental noiseniks Lubricated Goat – and Nirvana’s Kurt Cobain, then telling us the name of their bands. It’s all so subtle, and really nice people do it: these women are cool and interesting because their men are cool and interesting. I have no plans for a musician boyfriend.
Bikini Kill, on the other hand, speak for themselves, and it’s clear they’ve got a feminist agenda which includes encouraging a relationship between bands and fans, fans and fans, for celebration, information and the organising of solutions, starting with: Girls to the Front, not just a safe space for girls and performers, but a place to bombard girls with information that they need to know.
Take over the means of production in order to create our own meanings
Girls to the Front is all about the girls at the front, yet the effect of having positive and supportive women at the front of the audience, also proved the ‘experiment’ to offer a wonderful sense of freedom for the performers. Kathleen Hanna, after all, is probably one of the greatest front people since Johnny Rotten. It must be aces not having to worry where that photographer is going to point his lens next – as if we didn’t know (see Courtney pic, below and Kat Bjelland, Babes in Toyland, live review pic, under the title Everything changes – even my opinion.)
It connected to current feminist film theory of the era, meaning that the performers and musicians on stage were less likely to be subjects of the male gaze, becoming the bearer of meaning, rather than the maker of meaning (Laura Mulvey, 1974).
Feminist theatre theory went as far as describing it as a spectacle of hysteria for the clinical gaze of men, referring back to Freud’s study of hysteria. According to Sara Marcus’, (2010), Girls to the Front, Huggy Bear’s Nikki, purposefully would not keep still long enough to stay in the frame when being filmed for music TV programme The Word, a disaster by all accounts, and HB’s last tango with the mainstream media. That’s applying theory to practise! So cool.
On another level, applying a women-only space altogether avoided too many mixed meanings or deflection of meanings.
Feminist theatre theory was already debating the validity of any outcome, if the understanding relied on individual audience members, who bring their own cultural assumptions (that they think are natural), and will include men. A lot of feminist theatres were already opting for women-only audiences.
“Within a patriarchal culture, this exclusion may provide the only way certain elements of women’s experiences can be signified within the collective consciousness of the audience.” Sue-Ellen Case (1988) Feminism and Theatre.
The artistic, socio-political and musical conventions and events run under the banner LaDIYfest emerged from riot grrl and is still a force today all over the world, a place for women to express, ask, share, laugh, mosh together in a women-only space. In the UK, Bristol, Sheffield and Leeds are very active.
Start a girls’ band or be a girl in a band
Kathleen Hanna (1991), Bikini Kill fanzine, A Colour and Activity Book, sourced Women Make Noise (2012)
Be in an all-girl band or a girl in a band –
- Cuz it’s fun, it’s a good way to act out behaviours that are wrongly deemed ‘inappropriate’, this is a refutation of censorship and body fascism, this can deny taboos that keep us enslaved i.e. don’t talk about sex or rape or be sensitive or corny, to serve as a role model for other girls, to show boys others ways of doing things and that we have stuff to say; to discuss in both literal and artistic ways those issues that are really important to girls, naming these issues, specifically, validates their importance and other girls’ interest in them, reminds other girls that they aren’t alone; to make fun of thus disrupt the powers that be; it doesn’t have to be this intense dramatic self-righteous thing to affect change. It can be fun to talk about scary issues.
UK’s Pussycat Trash, who formed in 1992 soon became significant players in the girl style revolution, as well as Sister George.
No gender agenda
There was no gender agenda in riot grrrl. Multiplicity, in opposition to everything presented as binary, was the idea: don’t label people by their choice of sexuality, colour or class, well-meaning but naive (and giving critics fuel for the fire with regard to building a sometimes valid argument that riot grrrl was slipping into forms of white feminism. See Part 3, No hierarchy, no rules, everyone’s learning.) There was already a healthy lesbian punk scene, a community of experienced activists who knew the value of friendship, and their integration into the riot grrrl scene was very influential.
Jennifer (another RG who’s still an active musician in the current London underground music scene), sister, Tammi Denitto, and Andy, of Linus, were great flag flyers of a girl-boy revolution, like Huggy Bear.
“Linus the band has been a massive influence in many people’s lives yet they’re probably the most lo-fi, in terms of attitude, out of all the riot grrrl bands. Initially, it was the music that was the attraction, the first time I heard them being on the Linus 7″ vinyl EP (Bone Records, 1993). But when I followed that up by seeing them live what I got was more than a great gig:
There are more girls than boys; girls running the show; girls at the door; girls doing the PR thing; girls on stage; girls giving fanzines. And they weren’t scary like the others – by which I mean I wasn’t intimated because they were ready and I was getting ready, which I often felt. Linus didn’t make me feel like that. I think they were the great levellers of that period.” Ngaire Ruth (2015) GIVE ME 3, Charley Stone, Jennifer Denitto and Tegan Christmas.
Other bands included Heavenly, (Sarah Records) fronted by Amelia, Blood Sausage (two of Huggy Bear) and numerous friends of RG, like Razorblade Smile, Sleeper, Cornershop.
I want to find my own girl band!
Toxic Shock Syndrome, Frantic Spiders
The cassette box, which arrives in an unsuspecting envelope in my pigeon hole at the Maker, is magical and sweet, decorated in florescent bold colours, words and symbols – open the box, sparkles fall out – has nothing dark, and fearful about it. The band name, on the other hand, is in yer face and real, a thing girls don’t talk about: Toxic Shock Syndrome. Love them before I’ve heard a thing.
They’re perfectly untarnished and genuinely interested in all contemporary music, locals at the resident music bar, The Cavern, no famous boyfriends, or well-placed friends in music journalism. They want input much more than they want fame; I relate.
One night I join Toxic Shock Syndrome on stage, at the Bull & Gate, London, wearing the second-hand wedding dress vocalist and guitarist Ronnie has acquired for me, with instructions to kill the plastic baby doll on ‘the eye’. I wasn’t really looking and cut my hand. I’m proud to say that Ronnie reports the dress still has my blood on it. It marks an important night, it’s like I made some kind of girls in rock who are radical feminists pact with these women.
I take Charley to her first Riot Grrrl event, Huggy Bear, and encourage her to make contact with riot grrl band Linus, it’s a brave new world. She goes back to Exeter and pastes riot grrrl flyers and her own power statements all over the place, and reads the fanzines she’s collected.
Frantic Spiders are four ordinary girls, including two of TSS. This is a celebration of girls voices, loud guitars, and new friends. Riot grrrl is in the UK! I think guitarist Charley Stone will move to London and forever be part of the music scene, changing lives, putting it out there, an accomplished and adored lead guitarist. This happens. I write about Frantic Spiders for the Maker. I love that they talk about their instruments. Guitarist Charley Stone has two guitars and names them Charlotte and Emily. This is fresh and thrilling for me, and hard to imagine if you’re a girl guitar ACM student carrying your baby around with you all day and assuming every woman guitarist has been like that for all time. There were no contemporary music schools for girls yet – the riot grrrl rock schools were the first.
Frantic Spiders release one of the best singles of that era ‘You’re Dead’.
“Riot Grrrl actually changed a lot of lives, it was a key galvanising moment which got loads more women playing the guitar, changed the way we thought about ourselves and made a new space for women to not just be the “queen bee”, the token woman-in-rock, the Suzi Quatro in a man’s world. The effects were far wider reaching than any reading of chart/music press success would indicate.” Charley Stone (2019)
Charley now plays in several bands including Keith Top of the Pops, Desperate Journalist and Salad. See pic, Q magazine June 2019, an excellent interview with music journalist and contemporary Victoria Segal.
Artist, dancer and filmmaker Lucy Thane filmed the whole Bikini Kill UK tour and produced a documentary, which includes conversations with fans and contributions from Bikini Kill, Huggy Bear, Sister George and the Raincoats.
Are you in a band?” they ask Layla Gibbon (15), Flossy White and Esme Young (14).
“Yes!” they reply with enthusiasm, lying out of teenage embarrassment.
Then they went home and they were a band, calling themselves Skinned Teen. Everybody wished they were a Skinned Teen, the first band in the UK to only exist in the world thanks to riot grrrl.
Listen to ‘Secrets’, off the vinyl double single ‘Some Hearts Paid to Lie, Automation and Communication’ featuring UK riot grrrl bands Linus, Pussycat Trash, Comet Gain and Skinned Teen (Wiiija, 1993)
FACT FANS: Comet Gain included Huggy Bear Jon Slade.
A Skinned Teen mum –
“A huge part of it was communication. Pre-internet, zines, pen-pals, flyers, all connecting girls with each other as never before. Never before did such targeted, individual to individual, personal, emotional, political communication proliferate, city to city, village to town, country to country. It was awesome to see. It was wonderful. It was an awakening that never went away, and now we have Decolonise Fest and Bent Fest and First Timers and Loud Women and all the outlaws are hooking up and it is marvellous for an old lady to see, having seen it from 1993 with my own daughter’s awakening and band. Girls respecting and supporting each other instead of competing, bullying or disparaging. love riot grrrls and Riot Grrrl. It never went away.”
Pearl Pelfrey (May 2019)
Start an angry grrrl zine
You’re about to enter a whole new world; an absolute treasure trove of information, ideas, symbolic images and sketches, a fandom that is not adoration, but engaged and articulate in its representation.
Fanzines are synonymous with music, but they’re also a whole subculture by themselves, and zine writers, the true archivists of contemporary culture. Originally the realm of science fiction fans, who started to fall in love with rock n roll, they’re fun, imaginative, and full of information beyond the mainstream sources about your politics, rights, interests, favourite band, scene or genre.
The infamous Oz magazine – taken to court for obscenity charges (in the magazine) – and Rolling Stone magazine, with Hunter S Thompson as its political editor, talking anti-Vietnam with John Lennon, both started out as the underground press, DIY projects with an agenda that sought to challenge the structure of things. Boys Own fanzine, launched in 1986, about clubbing, football, tales of cocks shaped like a carrot, and clothes, did not a revolution make but it documented one, and went on to influence the consumer magazines for men, such as Loaded, which boomed in the 90s, pre-digital.
The psychedelic fanzines may seem more flippant and indulgent compared to the famously political and poetic hardcore punk fanzines, such as Sniffin’ Glue, but there’s no doubt that zines like Gong’s championed a new way of life outside the system just the same. Gilli Smyth and Daevid Allen, of Gong fame, met during the Paris 1968 riots and had to flee the city (Huggy Bear’s beloved Situationism).
“She met Allen in Paris where she was teaching at the Sorbonne. The pair, united by political motivations, performed a guerilla gig during the 1968 student riots, which led to them having to flee the city. Together, they set up the Gong community: a collective of musicians, artists, poets and writers.” Ngaire Ruth, (2016) Gilli Smith remembered, an obituary dedicated to an underrated lyrical luminary, the girls are.
In my opinion, the difference with riot grrrls and their relationship with fanzines is this: the bands and many of those involved front of house and behind the curtain, were running and writing for zines before they were in bands. Music was a medium for the message. It’s well known Bikini Kill’s Kathleen Hanna was a spoken word artist and writer before being in a band, and it was punk author Kathy Acker who suggested to her that music was a bigger medium than spoken word (at the time, perhaps not in 2019?). 2019 media theory argues that its the mediation process – the journey between the message and the medium – that must also be viewed through a feminist lens, not just the outcome, because it’s during the process of creation, in other words, the mediation of a message, that it can all go wrong, due to other skilled contributors, and collaborators with different viewpoints and assumed cultural attitudes. Riot Grrrl musicians, writers, organisers and artists, maintained a clear feminist agenda, from inception to outcome. Hurray!
This doesn’t happen in mainstream media: photographers, subs, editors, production teams all contribute to the final piece of writing on the page and can change the meaning, demean a point of view or the subject of the writing. Consequently, riot grrrl is not a fan of the British music press or the broadsheets on either side of the Atlantic.
In the early 90s, bands started to use fanzines as a promotional tool, a way of making people feel they belonged to a club with shared values and lifestyle, and the privilege of direct access to the latest news about their favourite artists. This resulted in watered-down fanzines, with little comment, original art, or effort in the writing.
The post-punk DIY underground press and the music scene had dissipated as all the indie bands sought to sign to majors – bringing us to the generic insipid form of indie recognised by the mainstream today. Melody Maker and NME were no longer gatekeepers of contemporary music culture, but music scouts for the majors.
Language is man-made, so make a new one
Bikini Kill came out of Jigsaw, and Bikini Kill, the zines, Bratmobile came out of the fanzine Girl Germs. Many of the women who helped shape riot grrrl were writers before they were musicians in cool grrrl bands. Layla Gibbon of Skinned Teen, the first original riot grrrl band in the UK and inspired by the experience of Bikini Kill in the UK live in 1993, at 15, went on to write for MaximumRockNRoll where she recruited many more women writers into the citadel of macho hardcore music.
Tobi Vail has been writing zines for over 20 years, starting out in 1988/89 with Jigsaw. The legacy retells how she would use the expression angry grrrl zines. Like many of the riot grrrls, Tobi has taken some pains to archive her material and comment in a blog – this link goes right back through the decades and up to 2013, at the time accessed [May 2019].
According to legend, riot grrrls “deliberately used grrrl instead of girl to remove the passive association with the word girl, as well as to display the anger behind the movement, reminiscent of a growl”. Rosenburg, (1998), RiotGrrrl-Revolutions-From-Within.
Jen Smith, musician, artist and zine writer, is credited with being the inspiration behind the term riot grrl.
While living in Washington DC she wrote to Girl Germs about the riots happening in her city, predicting a girl riot for the upcoming summer. Bratmobile moved to Washington DC and Jen joined the band, proposing they do a zine called Girl Riot. Molly Neumann began the zine, with contributions by Jen, Allison, and members of Bikini Kill, who had also relocated to Washington D.C. (Jen Smith, ZineWiki)
Angry grrrl fanzines excelled. Every slogan, article, sound byte and image in these zines reflected a fresh and relatable political agenda; for RG, a feminist viewpoint, great zine names, and a sense that feminism is fun. Examples are Riot Grrrl, Jen Smith’s Red Rover, Nerd Girl, Impossible Schizoid Girl, GERLL Press. Trouble Girls, Red Stocking.
Subjects included poetry and short stories, grrrl manifestos, news of girl band gigs, workshops, new RG chapters or other fanzines, alongside slogans, images and articles about body image and consciousness, women’s health, rock music and punk music, violence against women, sexual identity, homosexuality, and bisexuality.
Sara Marcus, in Girls to the Front (2010), includes a list of fanzines related to riot grrrl in the 90s but there are countless other fanzines out there, written by girls (and boys) that just did it, for a month, a year or so, stored in shoeboxes, or dusty folders, in picture frames on record shop walls, all over America, UK, Europe, Canada and Australia. Anyone could/can be a riot girl or boy.
How does it work?
Write about what you love, what’s important to you and lace everything with a distinct personal point of view that your future tribe can identify with. It’s all about sharing the love, communicating and celebrating action/reaction through words, art, music.
It’s something you can do on your own without any money, all you have to do is write it, photocopy it, staple it together, and give it out for free, or sell it super cheaply, at the next gig you’re at. They work better in the company of friends who can also write, draw, sketch, organise and administrate.
Serious fanzines had PO boxes or even home addresses for people to send a self-addressed stamped envelope inside another, with a cheque for everything from one Pound to three. It worked – less instant than new media and there was something in the waiting, the one copy, the commitment it takes to organise SAE’s.
Everything changes – new writing
Support each other, collaborate, and communicate, don’t compete, use the power of female friendship, and “make your voices heard together”.
Girl love in the UK went the same way as it did in the States, triggering a sudden influx of women singer-songwriters, musicians, artists and designers, new writing in fanzines and magazines, books, documentaries, academic theory and writing, managers, independent press agents, sound engineers, and producers.
Where there had once been a dearth of women represented in a usual band environment – live shows, rehearsals, studio time – and therefore open to more everyday sexism from the fans, colleagues, promoters, and other bands, now there was majority women, on the stage, behind the scenes and in the audience.
Here’s a flyer from a Leicester chapter.
The girls and boys who joined the Leeds, UK Riot Grrrl chapter, founded by Karen Ablaze, creator of the fanzine Ablaze! put on shows, “made more fanzines, and formed bands”. (Cherie Turner, 2001) Karren went on to form Coping Saw and Whack Cat.
“This is how I felt girl love turn into girl action,” explained Karen Ablaze to Cherie Turner (2001) The Riot Grrrl Movement, The Feminism of a New Generation
Karren now owns her own publishing company and reviews of her book, The City is Ablaze! The story of a post-punk pop-zine, a collection of ten issues of Ablaze! crammed together in a big book you can keep proudly on a shelf, got rave reviews with titles like Karren Ablaze made the best pop-zine ever!
There had always been a boys club in the underground, at last girls united in common goals. We could make a commitment to a long-term, alternative lifestyle, outside the system, because riot grrrl created the options of a global, national, and local community to which we belonged. Whoop!
This is happening without your permission (in the UK)
No one waited to be told/asked. I’ve heard stories of girls going into major newsagents and slipping riot grrrl feminist manifestoes and flyers between the pages of the girly mainstream magazines. New chapters hosted their own riot grrrl events in their local towns and cities. Bands and billings began to support new charities (to rock’n’roll), such as women who’ve suffered domestic abuse, campaigns to fight the anti-abortionists, the bully promoter, the indifferent sound engineer.
Jennifer and sister Tammi from Linus set up a post box for girls who wanted to launch their own zine. Their own fanzine was called It’s Unofficial. Jen’s philosophy was if you wanted to be a riot grrrl you were one.
“You didn’t need to sign up to anything. You just got out of bed and you said, ‘I am.’ I had the idea that if you told two friends, your two friends told two friends, you could really change the world.” Jennifer Denitto, interview with Sara Marcus, (2010) Girls to the Front.
DIY tradition (make a new system)
Create non-hierarchical ways of being and making music friends: communication + understanding instead of competition + good/bad categorisations
Riot Grrrl feminism is anti-capitalist, does not judge women by how much power they’ve achieved in the system, or by financial success. Huggy Bear was also concerned that the whole ethic of punk was getting lost, as indie bands raced to become mainstream indie pop stars and get a major deal, and a house in the country.
“If we don’t challenge the unhealthy forms of competitiveness that capitalism breeds, or the way it teaches us to objectify ourselves to each other, then we’re just selling ourselves out … We need to at least create new structures and new ways of dealing with things.” Kathleen Hanna (1998), interview extract, Punk Planet magazine, sourced Cherie Turner, The Riot Girl Movement.
Punk legacy a
The boys found riot grrrl’s feminism easy to relate to because it adopted everything good about punk, loud, rebellious, and most of all, the do it yourself ethic, a place to belong outside the system in a community using anger as an energy.
Ian McKay, (Fugazi, Minor Threat), produced the first Bikini Kill EP, Revolution Girl Style Now! (1991, demo format, re-issued by Bikini Kill records, with unreleased material, 2015). Nation of Ulysses were massive supporters of the girl bands, as were Nirvana and Mudhoney.
Even though both riot grrrl and punk had the drive to make new structures at its root, the traditional typology of a rock and roll band – in it together, a gang, shared viewpoints and lifestyle choices – still fit in with riot grrrl philosophy as it did with the punk movement. Except people didn’t always have shared backgrounds. This made some elements of riot grrrl utopia difficult on a day to day basis, as it did in the days of punk.
Punk legacy b
Punk had shown mainstream a new kind of representation of women singer-songwriters, and musicians, as individual performers with anger, outrage, and an alternative style and fashion.
Poly Styrene of X-Ray Specs, showed us how to delight in the fury. Frontwomen such as Pauline Murray, of Penetration, Debbie Harry, of Blondie and Siouxie Sioux, of Siouxie and the Banshees, Chrissie Hynde of The Pretenders, were all super sexy women in full control (this is not aspirational for a teen girl, in general). They were one woman in a band of men, and that’s how they seemed to like it. Even my own icons did not escape this comparison, Patti Smith, and my alter-ego heroine Gilly Smyth (from Gong) referred to as the Mother of the men. Moe, drummer of Velvet Underground, and older than the pack, was a welcome exception.
The confident girls were inspired to pick up instruments and formed punk bands and girl guitar bands though – such as the still current, Raincoats, out about a feminist agenda from the start, and author and philosopher Lucy O’Brien’s band The Catholic Girls. Lucy went on to join the NME team. (FACT FANS: more recently, Lucy hosted two in-conversation shows with Celeste Bell, Poly Styrene’s daughter, The Poly Styrene Story.) There was all girl gang supporting The Clash called The Slits, who really showed us something entirely new. Both these punk bands were for dancing, The Slits using a dub backbone to their punk, and signed to Chris Blackwell’s Jamaican Island label, at the time one of the largest independent labels, and starting to make a move on the UK music scene. The band Mudhoney used the idea from The Slits debut album image Cut (Island 1979), ten years later for the single, You Got It (Keep It Outta My Face) b/w Burn It Clean (SubPop 1989).
Even nearer to the riot grrrl era, and influential, were the women bassists because that was one of the few ways in, Tiny Weymouth, Talking Heads, Kim Gordan of Sonic Youth, Josephine Wiggs of That Perfect Disaster (later of Breeders fame), Gina Birch (Raincoats).
An alternative rock band, Ut, compared to The Fall by John Peel, were my first review in the mainstream music press the Melody Maker, November 1989. I realised my perception of the women-powered band was completely different to the boy journalists when I read the album review of the band by a colleague. That night I wrote my own manifesto, just in time for the arrival of the US girl bands, Lunachicks, L7 and Babes in Toyland and the boy grunge bands, Tad, Mudhoney, Nirvana.
The early girl bands from the States – Lunachicks & Babes in Toyland
Kat Bjelland, drummer Lori Barbero and bassist Michelle Leon, (replaced by Maureen Herman in 1992), Babes in Toyland, were filling out the Brixton Academy in 1990, played Reading 1991. Through the album cover, Fontanelle (Reprise, 1992) and the EP Painless (Reprise, 1993) I learnt about artist Cindy Sherman because the artwork pays homage.
Babes in Toyland rebellion comes in the form of delightful confusion: an accomplished hardcore sound from a pre-riot grrrl band who are majority women, women powered too, an unrelenting force as musicians, performing live in the kind of pretty flowery dresses made for skipping through sun-kissed cornfields. Vocalist and guitarist, Kat with her Snow White hair and bright red lipstick is a force. This is new and preparation for what’s to come. It ties in with the current academic trend to deconstruct fairy tales, as a patriarchal conspiracy, e.g. they don’t want us to go off the path – what happens is Kat Bjelland. Some tales of the riot grrrl legacy claim that Bikini Kill’s Kathleen Hanna admired and was influenced by Babes in Toyland. Kat joined Crunt in 1993, with husband, Stuart Gray, another crazy and wonderful Jon Spencer (Blues Explosion) project.
Everything changes – even my opinion
Gina Volpe, Theo Kogan, Sydney Silver and Sindi Benezra, New York’s Lunachicks, are also the bomb, musically and as performers, tongue in cheek rather than angry. With regard to the modelling of cool girls rocking out, and the success of debut album Babysitters On Acid (1990, Blast), Lunachicks changed lives for many women who love loud guitars. Blast records were the baby of Mute records, which came out of punk and ended up being acquired by E.M.I. records (2002), then returned to an independent label again (2010), with EMI keeping the archive catalogue. Ouch.
Apparently, Kat Bjelland and Courtney Love are mates. Or not mates. Which means there’s some element of truth to a real relationship.
There are references to Babes in Toyland’s ‘Bruise Violet’ being about Courtney. And Courtney’s ‘Violet’ being about Kat. At least we know that the entire conversation didn’t revolve around their cool boyfriends. (A current film feminist theory is the Bechdel Technique: are there two women on the screen taking up space, and not talking about men?)
Nina Simone and Anita O’Day, a lesser known jazz singer and drug addict, used to score together; friends in a crazy world of shit consequences for both that was none of their doing. The all-girl band Lunachicks were first introduced to Mute by Kim Gordan’s Sonic Youth, (also with Blast). Crissi Hynde met Joan Jett when one was beginning their career, and the other thought her life in music was over because she had given up on herself. Girl love changes everything.
It would be nice to know
The early girls in bands in the UK
I have like-minded, feminist friends! Awesome vocalist Lesley, re Silverfish, an art student dancing hard in her DM’s, and ramshackle Th’ Faith Healers, fronted by Roxanne, a hippy girl in a punk band with razor-blade guitars, an excellent combo. Now at least when a girl’s in a band of men, the men can be feminists too.
I go on tour with Silverfish in a silver bus. We are slowly being poisoned by fumes getting back into the bus, but we look cool going all the way to Scotland from north London. We roll down green hills together and eat good home cooking at Lesley’s mum’s Scottish B & B.
The Faith Healer’s Roxanne makes me a badge with her own craft set with the words GIRL POWER on it. Life on the underground live circuit is good. (FACT FANS: Silverfish member Fuzz is the resident sound engineer at a well known Camden venue these days.)
We talk about P. J. Harvey and the women bands in the States.
Julianna Hatfield has also come out saying she’s not a feminist, an American artist on a cool label (Mammoth). I share my copy of the Melody Maker, August 8th, specifically the Julianna Hatfield album review of Hey Babe, and the photo comment, which is bigger than the capped artist name, the brilliant photographer or, the writer’s name, David Bennum. SCHWWWING! There is no big band musical influence or bell features in the album. I wonder why she thinks she doesn’t need feminism?
New indie labels
A lot of the current UK bands are with the new independent labels, Wiiija and Too Pure, the latter is also the promoter of the Sausage Machine @ The White Horse, Hampstead, referenced in Part 1. Wiiija’s riot grrrl bands are handled by Olympia’s Kill Rock Stars label, and viz-a-viz.
A band called Tsunami and an American label, Simple Machines, founded by singer and guitarist Jenny Toomey and run with bandmate Kristin Thomson, is a lovely thing to discover. I’m also a little bit in love with anything that comes out of the New York Shimmy Disc label, owned by musician Kramer. One of his artists, Lida Husik, stays at my north London flat during a short UK visit to vaguely promote her album, and leaves me the most fabulous thank you present: Angry Women, (1991) The inscription reads:
Next, Part 3
What happened next, what happens next?
- Untypical girls, extraordinary women
- Slipping into white feminism
References and recommended viewing and reading
Feature pic: Huggy Bear, thanks to http://grrrlswithguitars.com/huggy_bear_riot_grrrl/
A Girls Guide to Taking Over the World, Writing from the Girl Zine Revolution, (1997) Karen Green and Tristam Taormino, ed, St Martins Press: New York
Angry Women, (1991) Andrea Juno and V. Vale, ed, Re/Search publications
Case, Sue-Ellen, (1988), Feminism & Theatre, MacMillan: London
Kathleen Hanna (1991), Bikini Kill fanzine, A Colour and Activity Book, Women Make Noise (2012), Julia Downes ed, Riot Grrrl, Ladyfest and Rock Camps for Girls, p265.
Kathleen Hanna, Interview extract, Punk Planet magazine, sourced Cherie Turner, The Riot Girl Movement, The Rosen Publishing Group: New York, p13.
Lucy O’Brien, (1995), She Bop, The definitive history of women in rock, pop + soul, Penguin Group.
Sara Marcus,(2010) Girls to the Front, This is happening without your permission, Harper Perennial: New York, p260
J. Rosenberger & G. Garofano (1998) Riotgrrrl: Revolutions from Within, https://www.scribd.com/doc/36791709/Riotgrrl-Revolutions-From-Within [accessed May 2019]
Ngaire Ruth live review Heavenly, Nelories, Razorblade Smile, Pussycat Trash, Waccamole, Sarah Records archives http://sarahrecords.org.uk/heavenly-the-monarch-camden-town-ngaire-ruth-nme/ [accessed May 2019]
Victoria Segal, (June 2019), Where Are They Now? Salad, Q Magazine
Ngaire Ruth, (2016) Gilli Smith remembered, an obituary dedicated to an underrated lyrical luminary, the girls are, https://www.planetgong.co.uk/archives/mementos/gilli-smyth.shtml [accessed May 2019]
Ngaire Ruth (2015) GIVE ME 3, Charley Stone, Jennifer Denitto and Tegan Christmas, http://ngaireruth.blogspot.com/2015/ [accessed May 2019]
Cherie Turner (2001) The Riot Grrrl Movement, The Feminism of a New Generation, Rosen Publishing: New York, p36
http://zinewiki.com/Jen_Smith [accessed May 2019]
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Bikini Kill released an EP Revolution Girl Style Now! (1991, Kill Rock Stars), and two albums Pussy Whipped (1993, Kill Rock Stars), which includes ‘Rebel’, no 27 in Rolling Stone’s list of Most Excellent Songs of Every Year since 1967. Later, Reject All American (1996)