The Unapologetic Origins of Riot Grrrl Music: When Punk Turns Pink

 by Tadala John

With the online craze of categorising ourselves as different types of ‘girls’, sophisticated ‘clean girls’, hyperfeminine ‘coquette girls’ and neighbourhood-friendly ‘girl’s girl’; the Riot grrrl can be seen as the original ‘girl’. Characterised by its outlandishness and outspokenness, this genre ambushed male-dominated spaces and wants ‘girls to the front’.

Whilst most of the Western pop culture during the early 1990s was captivated by the decade-defying alternative movement, grunge, a new alternative subculture was brewing in Olympia, Washington in the USA. This subculture was dominated by women who shared similar feminist ideals and would eventually see the birth of the Riot-Grrrl genre, which can be linked to other genres such as indie rock and punk rock. This saw women frequently expressing their anger, rage and frustration, whilst discussing social issues such as sexuality, patriarchy, racism and female empowerment through music.  This would be seen as revolutionary as beforehand, women were rarely seen dominating musical spaces, especially when addressing issues that centred around and catered for women.

Bands often associated with the Riot Grrrl are Bikini Kill, Bratmobile, Le Tigre, Hole and L7, as they were integral in bringing the Riot Grrrl movement into the mainstream.

Bikini Kill, particularly, is the most notable in the feminist punk genre, as they are the most recognisable band to come out of the Riot Grrrl movement. This band was formed in 1990 and saw Kathleen Hanna (who also fronted for Le Tigre), Tobi Vail and Kathi Wilcox, who were originally students at The Evergreen State College, combine their talents to create songs about female empowerment and liberation, whilst encouraging a female-centric environment in their live shows. This was seen as powerful as they inspired women to join the punk scene, which was notorious for its abrasive and violent displays of masculinity, created by men who were part of the scene. This band produced one the most popular Riot Grrrl anthems, ‘Rebel Girl’. Whilst this ‘unforgettable anthem’, claimed by Robert Christgau, never charted upon release, it still received wide critical acclaim and was even featured on Rolling Stone’s ‘Most Excellent Songs of Every Year Since 1967’ as the best song of 1993.

The Riot Grrrl movement not only gave birth to a bold musical genre but also sparked a fashion trend. Known as Kinderwhore or the Riot Grrrl aesthetic, it is characterized by frilly short dresses and skirts, ripped tights, peter pan collars, and use of pastel colours. The aesthetic clothing's child-like motifs can be seen as a critique of society's beauty standards and sexist beliefs that women are inferior to men. This is because the stereotypical traits of a little girl, such as innocence and naivety, are often imposed on women, and by dressing in a way that obscures these pieces of clothing, it challenges and condemns those who uphold these views on women.

The Riot Grrrl movement also faced a lot of criticism during its peak for its lack of inclusivity. Although frequently seen to champion the empowerment of women, it can be argued that this empowerment was largely focused on middle-class white women, disparaging the unique issues women of colour may face. Over time this created a subgenre of itself, called Sista Riot Girls in the late 1990s, which created a safe space for Black women to express their feelings of anger and rage through music.

The impact of the Riot Grrrl movement is still seen today. This can be noticed through the resurgence of Riot Grrrl fashion on social media platforms like TikTok and Pinterest, where it is easier for people to come across and explore alternative spaces due to the variety of content available. Additionally, contemporary punk bands such as Mommy Long Legs, Dazey and the Scots, Bad Cop/Bad Cop, and Dream Nails are just a few examples of bands that keep the Riot Grrrl spirit alive in today's era.