Revolution Girl-Style Now!
Riot Grrrls were originally born out of the “Punk” scene where rebellion was expressed in attitude, appearance, style, and music. Defining Riot Grrrl is much like defining Punk. There is no central organization, no authoritive definition, just an attitude concerned with pointing out social hypocrisy and empowering people to “do it yourself”, creating a culture of their own when they see that the mainstream media does not reflect their concerns or provide outlets for their efforts. Riot Grrrl is a supportive environment for girls and young women which is concerned with feminist issues such as rape, abortion rights, bulimia/anorexia, sexism, sexuality, double standards, self-defense, fat oppression, classism, and racism. Riot Grrrl is a network of fanzines that are produced by the angry “girl revolutionaries” who identify with the music that is associated with Riot Grrrl. The fanzines, self-designed and self-written, uncensored and uninhibited photocopied publications, are often intensely personal. That personal outlet is translated to larger political action when the fanzines are available to the public, bringing people together for conventions and other consciousness-raising activities. The ethos is about supporting each other and empowering each other. In actuality, Riot Grrrl is a frame of mind.
It's a way for them to come together in a common cause: “Revolution Girl-Style
Now!”. Since no specific person or people claim they created it, Riot Grrrl has meant many things to many people. Most girls do not attempt to define it anymore.
“EVERY GRRRL IS A RIOT GRRRL. All you need is a healthy dose of pissed-of-ness at the treatment of womyn in our society. We are NOT all punk, all white, all lesbians, all musicians, all fanzine editors, all vegetarians, all victims of abuse, all straight edge. There is no ‘stereotypical' Riot Grrrl.” (Knight 9)
The early Riot Grrrl scene was a “loose-knit” affiliation of feminist Punks, formed circa 1991 in Olympia, Washington and Washington D.C. The philosophy of “ do it yourself” and “you can do anything” seemed to apply mostly to boys, who were the ones making the music and dictating the styles. By the early ‘90s, more and more girl bands started springing up, but ironically they found themselves battling sexism and discrimination within a movement originally based in a consciousness about youth ...
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...ther in a common cause: “Revolution Girl-Style Now!”.
Bibliography
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"Grrrls kick ass!". Online. Available HTTP: http://www. Micoks.net:80/~ tiffani/girl.html Hanok, Emily. The Girl Within. New York:Fawcett Books, 1989
Knight, Zain. Luster fanzine. San Fransisco. Madhu.. "Riot Grrrl". Online.
Available HTTP: http://www.angelfire.com/nj/alienshe/grrrl.html
Orviro, Rachel. "I Am a Girl". Online. Available HTTP: http://www. voiceofwomen.com/sac/girl.html. Pipher, Mary, Ph.D. Reviving
Ophelia: Saving the Selves of Adolescent Girls. New York: Ballantine Books,
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"I AM XL & PROUD". Kingfish fanzine. SanDiego. Spirit. "What is a Riot
Grrrl anyway?". Online. Available HTTP: http://www. columbia.edu:80/~ril 3/music-html/bikini kill/girl.html "So
What the heck is Riot Grrrl?". Online. Available HTTP: http://www. indieweb.com/riotgrrrl/rg-perplexed.html Wilson, Jodi.
Crisco fanzine. San Fransisco.
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Black people were disenfranchised and to make it in the industry, they turned to music.
Victor, Paramount and Golden Age jumped on the boat and began looking into the business of race music, which would attract African-American consumers and later on, would attract the white race as well. This is the rise of race music. As we progress to the latter day, we find that there was a heavy influence of African-American sound that contributed to the airs of rock music from many different artists.
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and 1960s. The characteristics in the big band genre that tie in with traditional pop are unique in
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Berry Gordy played a significant role in the 1960’s African American shift into the American Music Industry through the establishment of the highly recognised company and genre “Motown”. As the Founder of Motown Records Berry Gordy introduced to the American Music Industry some of the biggest artists of all time take the stage and within a decade created the “Black Pop” genre, which was listened to and purchased from a segregated audience. The business changed the way record labels would polish, nurture and distribute their artist, having an impact on the number of jobs that were introduced into the Music Industry, dealing and consulting with marketing, artist development, choreography, stylists and costume designers. With Berry Gordy’s all
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Although contemporary society is not as patriarchal as it was in the past, that male dominance still exists today. Young’s description of a self-imposed “I cannot” can be supported with common real life examples today. The “I cannot” comes from a woman’s insecurities, fear of getting hurt, and underestimating their bodily capacities. In a sexist society, these factors of the self-imposed “I cannot” would lead to
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