Riot Grrrl (a brief history of a bunch of bitches)

As the media stated it in the early 1990s Kathleen Hanna, lead singer of the band Bikini Kill, spray painted on a wall in Olympia Washington one day this statement: "Kurt Smells Like Teen Spirit." Kurt Cobain, a friend of Hanna's was drawn to the revolutionary quality of Hanna's phrase and used Smells Like Teen Spirit as the title of what became his band's (Nirvana) greatest hit. Kurt Cobain later said that the song is an attempt at writing the ultimate pop song by copying the songwriting style of The Pixies. Kathleen Hanna later said that she was not trying to say something revolutionary about Cobain, rather, that he actually smelled like Teen Spirit, the brand of deodorant that his then girlfriend (Tobi Vail) wore. When Kurt Cobain was asked about this, he stated that he was unaware of that Teen Spirit was a deodorant but went on to say that it didn't matter. The phrase and this meaningless little story about it became the explicit motto for a generation (at least for a moment).

Regardless, myth takes the place of history as Roland Barthes would say. Kathleen Hanna is one of the many founding members of the Riot Grrrl movement, but is given most of the credit for its inception and drive. The Riot Grrrl scene is credited with a lot; third wave feminist revival, resistance to violent-male-dominated punk rock shows, inspiration for girls to start bands, and embracing the words slut and bitch! Riot Grrrl began in a small town (primarily populated by white middle class, which has been a legitimate criticism for the movement's exclusion, whether it be purposeful or coincidental) in Washington State called Olympia. A group of girls, many of whom attended the progressive liberal arts college Evergreen, began getting together women to talk about gender, music, art, and whatever else came up. They began setting up shows together of female bands and creating zines (low budget, uncensored d.i.y little magazines). Tobi Vail was making a zine called "Riot Grrrl" and this became the referential name for what was taking place. The 'catch phrases' became "Revolution, grrrl style, now!" and "Grrrl Power!" Slowly, people in other states and finally countries began catching on and some of the girls moved to Washington D.C to spread the riot.

Once the media got a hold of the spreading scene, the subversive intentions of its participants were manipulated, altered and exploited. The radical activism of the women was not a representation of femininity that could sell. The riot grrrl message was marginalized by magazines from Newsweek to Rolling Stone to Seventeen. Kathleen Hanna was the most outspoken (and perhaps considered one of the prettier) riot grrrls so much of the media attention was placed on her band Bikini Kill. Interviewers sought out controversial statements and often misquoted the women or did not put their words in an appropriate context. The women's efforts were usually marginalized as a group of girls parading in their underwear trying to be fierce, calling their attempts "cute" or criticizing them for not being political enough in their intentions.


Around the same time, the phrase "Girl Power" was reappropriated for the "band" The Spice Girls. What was once a subversive message was reduced to a phrase that praised and gave 'power' to women for dressing in provocative clothing and representing different male fantasies. Many Riot Grrrls distanced themselves from the scene at this time, and many refused to discuss the issue for years because of the frustration and pain caused by the experience.

If you are interested in checking out some Riot Grrrl bands, books movies here is a list of some to start you off:

Heavens to Betsy
Bratmobile
Sleater-Kinney
Bikini Kill
Huggy Bear
The Slits
Babes in Toyland
Team Dresch

Sarah Dyer's Action Girl comics

Don't Need You: The Herstory of Riot Grrrl (movie)
movie trailer:

J Dilla

J Dilla's work has had a major influence on his peers as he embodied the neo soul sound, playing a significant yet modest role during the sub-genre's rise (roughly from the mid-90s to the early 2000s). As he reached his prime, the seriousness of his condition became public in November 2005 when J Dilla toured Europe performing from a wheelchair. It was later revealed that he suffered from TTP, a rare blood disease, and eventually dying from Lupus.
Like many artists who die young, Dilla's greatest public exposure came because of his death. His untimely death has had a significant impact on the hip-hop community. Besides countless tribute tracks and concerts, Dilla's death created a wealth of interest in his remaining catalog, and consequently, Dilla's influence on hip-hop production became more apparent. J Dilla was often dubbed "your favorite producer's favorite producer," and was highly regarded by hip-hop artists and producers.

Reality...music

I watch reality TV...a lot. So, I came across this music video of one of the girls of MTV's "The Hills." This is Heidi Montag with her wanna be pop hit "Higher." As I watched this, I thought (besides, "how embarrassing"), is the music business so glamorous and amazing that someone is willing to put out in the market something like this? Or is it just that audiences have become so unpredictable that a strike of luck might have made this song an actual hit? Maybe they think we're stupid...or deaf.

Watch it for yourself and think...is this what we have become as an audience? Don't you think we deserve better?

Felt - Early Mornin' Tony

Is a video by two of the most popular underground hip hop artists of the time. Murs from the group Living Legends, and Slug from the group atmosphere have joined forces to put out an album, that can break down the color barriers of hip hop music. The video is edited to show the two protagonists going through a typical day in a comic book cartoon like story. Together they make the audience believers in their lyrics and musical integrity.

Illusions of Bravado and Toughness in Music

Often musical genres mostly derivative of 'rock' and 'punk' (thrash, gutterpunk, grindcore, death metal, etc.) evoke a sense of toughness and machismo. These types of music attempt to assuage deep-seated insecurities and create a new persona for the mainly male listeners. Unfortunately, such pomp often fails when confronted with that little, tiny thing called Reality. The following video is a spendid display of my point. Glenn Danzig, former a lead singer of The Misfits (a great band mind you), Samhain, and his own solo stuff took to heart the idea of being a tough SOB and, well, just watch the video and you'll see. As the poet says, "there is no courage in the idea of battle."

Fucking Reality Without Getting Pregnant

THE BOREDOMS 77 BOA DRUM CIRCLE





THE JESUS AND MARY CHAIN (north london poly riot)

Mexican 'Gangsta' Rap

Although music used to be related to a higher culture, scholars have now come to the realization of the connection between music and the dominant masses. This change refers to the way in which subjugated social groups, such as the working class and immigrant minorities remain culturally stable in a country which is not their own. There is an enduring bond between music and social struggle, specifically cultural survival. For this reason, during the 1970s a new type of composition evolved: narcocorridos-- Mexican folk ballads (more like "Gangsta" Rap if you ask me) in which a drug trafficker is a bandit hero whose story is being told. These ballads talk about violence, drugs, and power, idealizing the drug dealer.

I know, what do you care, right? Well, there are 23 million Mexicans living in the U.S. today. The Mexican-U.S. Border represents a place of cultural isolation, where both regions evolved as a unified territory. These areas are also recognized as trouble zones, where the most drug trafficking takes place. Most narcocorrido groups are either from the border area or natives of Northern Mexico, where loss of socio-cultural control is inevitable. It is this struggle that pushed for the development of an identity, evolving with the intensity of these tensions. 

In respect to their popularity in the U.S., these are more eminent in L.A., where there is a near-majority Hispanic population. Although I am not a big fan myself, it is important to understand that we are referring to an American culture-- a melting pot of ethnicities and diversity. Narcocorridos are the musical strength of a culture that bears nostalgia and struggle. And an underestimated social phenomenon.

Feel free to watch.