Punk music has always been a way for artists to express themselves without regard for the establishment or capitalist corporations. Ever since it came to the forefront of the music scene in the early 1970s, punk music has always been about doing it yourself. Women were involved in punk music from the beginning with records like Patti Smith’s Horses and the Slits’ Cut paving the way for the future of female-driven punk rock music. While both punk rock music and feminism were hot topics in the 1970s, it wasn’t until the early 1990s when the two came together, better than ever before.
The interesting thing about riot grrrl music is that it came into fruition in a time when feminism was largely considered to be, for lack of better terms, dead. This is perfectly encapsulated with the June 1998 cover of Time (pictured below).
While many in the mainstream media considered feminism to be outdated, many independent artists worked diligently to communicate that feminism was far from over.
Riot grrrl music was developed in the early 1990s as a way for feminist ideas to be spread though punk music. This art form started in the Pacific Northwest of the United States, particularly in Washington. It is often associated with third-wave feminism, which aimed to expand the conversation of feminism to include a more diverse group of women with different, wide-ranging identities. It aimed to expand the idea of what women were and what they could be. Riot grrrl music took subjects such as the patriarchy, sexual abuse, racism, and sexuality and combined them brilliantly with a punk rock soundtrack.
In addition to the music, riot grrrl artists also made use of DIY publications (called zines), political action, grassroots-organized meetings, and other sources of art.
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Here is a guide to some of the most important albums to come out of the scene:
Bikini Kill - Revolution Girl Style Now! (1991)
You cannot talk about riot grrrl without mentioning Bikini Kill. Bikini Kill consisted of singer/songwriter Kathleen Hanna, guitarist Billy Karren, bassist Kathi Wilcox, and drummer Tobi Vail. They were pioneers of the movement and are well-known for their radical stances and highly energetic performances.
Key songs: “Feels Blind” and “Double Dare Ya”
Bratmobile – Pottymouth (1993)
Bratmobile was also a first-generation riot grrrl band whose ideas and aesthetic were incredibly important to the riot grrrl movement. Made up of Allison Wolfe, Erin Smith, and Molly Neuman, Bratmobile were an important addition to the northwest scene. Their debut album is considered to be a classic of the genre.
Key songs: “Cool Schmool” and “Love Thing”
Huggybear - Our Troubled Youth (1993)
Huggybear was a band from England who worked closely with Bikini Kill. They were unique because for the majority of their existence, they refused to be photographed or interviewed by mainstream press. Their 1993 release was a split LP with Bikini Kill’s Yeah Yeah Yeah Yeah. While not native to the Pacific Northwest, their influence on the riot grrrl movement is insurmountable.
Key songs: “Aqua Girl Star” and “Hopscotch”
Sleater-Kinney – Call the Doctor (1996)
Olympia, Washington pioneers Sleater-Kinney have released eight albums in their over 2 decades in the music industry. Their sophomore album, Call the Doctor, is considered to be one of their best. The band, made up of Corin Tucker, Carrie Brownstein, and Janet Weiss, is known for the smart lyrics and strong vocal performances. Their most recent album, No Cities to Love, was critically adored when it came out last year.
Key songs: “I Wanna Be Your Joey Ramone” and “Good Things”
Heavens to Betsy – Calculated (1994)
Released on the seminal Kill Rock Stars independent label, Calculated is the only release by future Sleater-Kinney member Corin Tucker’s first band. During their time in the music scene, they had a split EP with Bratmobile and took part in the "Love Rock Revolution Girl Style Now" performance, which is largely considered to be one of the pivotal moments in the riot grrrl movement.
Key songs: “Nothing Can Stop Me” and “Complicated”
While riot grrrl is no longer at the front of the independent scene, it is incredibly important not only in the history of punk music, but also in terms of making feminism more accessible and all-encompassing for different generations of girls.