DOCSLIB.ORG

May 2016 Spectacle • 124 S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
May 2016 Spectacle • 124 S SUN MON TUES Wed thurs fri SAT 1 2 3 4 5 6 7 3:00 7:30 7:30 7:30 7:30 & 10:00 7:30 7:30 FIST CHURCH FOLKTALES IN THE FOG THE MYSTERY OF THE GRRRL LOVE/PUNK ART DETOURNEMENT: OUTER CHEBURASKA SHORTS LITTLE FEET THIRD PLANET BODY FRAGMENTED 5:00 10:00 10:00 FEMME WINDOWS 10:00 10:00 IT CHANGED MY LIFE UNCLE SAM 10:00 SHE’S REAL (WORSE TRANSLATE WELL CYBERPUNK THIS IS NOT A TEST: MAKE OUT WITH THAN QUEER) CURRENTS SHORTS 1990-1998 7:30 Violence Midnight GO DOWN DEATH MERIDIANS + ERIC B-H HOLOGRAM MAN Midnight LIVE SCORE AT 9:00 LITTLE MARINES 2 8 9 10 11 12 13 14 3:00 7:30 7:30 7:30 7:30 7:30 7:30 BLOOD BRUNCH CHEBURASKA SHORTS GO DOWN DEATH THE MYSTERY OF THE FESTIVAL OF IT CHANGED MY LIFE FOLKTALES IN THE FOG THIRD PLANET (IN)APPROPRIATION 5:00 10:00 10:00 10:00 10:00 AUTOPSY EPHEMERA: SOCIAL KILLING OF AMERICA 10:00 10:00 SHE’S REAL (WORSE MAKE OUT WITH MACHINES LITTLE FEET FESTIVAL OF THAN QUEER) VIOLENCE 7:30 (IN)APPROPRIATION HANDS OF STEEL Midnight midnight DIGITAL MAN EDGE OF THE AXE 15 16 17 18 19 20 21 3:00 7:30 7:30 7:30 7:30 7:30 7:30 FIST CHURCH KILLING OF AMERICA IT CHANGED MY LIFE FOLKTALES IN THE FOG THIS IS NOT A TEST: LITTLE FEET THE MYSTERY OF THE SHORTS 1990-1998 THIRD PLANET 5:00 10:00 10:00 10:00 10:00 EPHEMERA: SOCIAL CYBERPUNK SHE’S REAL (WORSE MAKE OUT WITH 10:00 AN INITIATION INTO 10:00 MACHINES THAN QUEER) VIOLENCE GO DOWN DEATH VIOLENT EXHIBITIONS OF UNCLE SAM MACHINE PERFORMANCE 7:30 midnight midnight GRRRL LOVE/PUNK ART LITTLE MARINES 2 HOLOGRAM MAN 22 23 24 25 26 27 28 3:00 7:30 7:30 8:00 7:30 7:30 7:30 BLOOD BRUNCH THIS IS NOT A TEST: CYBERPUNK SHE MUST BE SEEING AN INITIATION INTO killing of america GRRRL PUNK/punk art SHORTS 1990-1998 THINGS VIOLENT EXHIBITIONS OF MACHINE PERFORMANCE 5:00 10:00 FILMMAKER IN PERSON! 10:00 10:00 FOLKTALES IN THE FOG 10:00 UNCLE SAM go down death EPHEMERA: SOCIAL IT CHANGED MY LIFE 10:00 MACHINES 7:30 She’s real (worse CHEBURASKA SHORTS than queer) midnight midnight DEATH PROMISE DIGITAL MAN 29 30 31 3:00 7:30 7:30 FIST CHURCH MAKE OUT WITH LITTLE FEET VIOLENCE 5:00 10:00 AN INITIATION INTO CYBERPUNK 10:00 VIOLENT EXHIBITIONS OF THE MYSTERY OF THE MACHINE PERFORMANCE 7:30 THRID PLANET UNCLE SAM May 2016 SPeCTACLe • 124 S. 3RD St. On the cover: BROOKLYN, NY CHEBURASKA: Dir. Eduard Uspensky, 1969 5$ MOVIES • SPECTACLETHEATER.COM UNCLE SAM, Bill Lustig, 1996. EPHEMERA: SOCIAL MACHINES: Various, 1939-2008. IT CHANGED MY LIFE, Lucy Thane, 1992. CHILDREN ON FIRE 2: KIDS ON FIRER 4o4 FUTURE NOT FOUND: GRRRL GERMS: A VISUAL HISTORY OF UNCLE SAM: Dir. Bill Lustig, 1996. USA, 90 min. 5/2 10:00p • 5/21 10:00p • 5/24 10:00p • 5/29 7:30p CYBERWORLDS AND TERMINAL CASES RIOT GRRRL During the early 90s, humanity teetered on the verge of enormous innovations Originally coined by Olympia, WA-based zinesters and musicians Tobi Vail (Bikini It’s Fourth Of July Weekend, and the recently discovered corpse of Sgt. Sam Kill) and Molly Neuman (Bratmobile) to describe the core network of politically- Harper - killed by ‘friendly fire’ during the first Gulf War - is returned to his that would completely change the way we interacted with technology. This series looks at the lag between processing power and the half-digital future minded punk women in Olympia and DC, Riot Grrrl in its truest sense describes all-American hometown. But when Sam rises from the dead to punish the any do-it-yourself creative outlet of feminist fury: from cut-and-paste zines unpatriotic, only his young nephew and a bitter Korean War veteran (Soul icon we strove towards, a technical wonderworld still bound by wires and clunky physical machines. As we enter the 4th stage of Baudrillard’s full precession of to punk shows to the grainy, politically-charged Pixelvision and 16mm visual Isaac Hayes] can stop his red-blooded rampage. Draft dodgers, tax cheats, subversions of the underground female and queer filmmakers of the era. crooked politicians and flag-burners beware: UNCLE SAM wants you... DEAD! simulacra, let’s look back at our ham-fisted attempts to make man, machine and reality become virtually one. LITTLE FEET: Dir. Alexandre Rockwell, 2013. USA, 64 min. IT CHANGED MY LIFE: Dir. Lucy Thane, 1992. UK, 25 min + 1 hour additional footage. 5/1 5:00 PM • 5/13 7:30 PM • 5/17 7:30 PM • 5/23 10:00p 5/7 7:30p • 5/11 10:00p • 5/20 7:30p • 5/31 7:30p CYBERPUNK: Dir. Marianne Trench, 1990, USA, 60 min. SHE’S REAL (WORSE THAN QUEER): Dir. Lucy Thane, 1997. UK, 50 min. Determined to set their pet goldfish free, Lana and Nico embark on a magical 5/6 10:00p • 5/16 10:00p • 5/24 7:30p • 5/29 5:00p 5/4 10:00p • 5/13 10:00p • 5/17 10:00p • 5/26 10:00p urban odyssey from their Los Angeles home to the ocean. Their adventure, seen Itself an artifact of the time and aesthetic being documenting, CYBERPUNK With unlimited access and uncanny instincts, filmmaker Lucy Thane chronicled through the eyes of the brother/sister team, is filled with an array of wild and is a fun, highly stylized sampler capturing its eponymous subculture still Bikini Kill and Huggy Bear’s 1993 UK tour/media circus with a stockpile of sometimes frightening encounters! Little Feet’s cinematography shows the poetic coalescing. Featuring interviews with William Gibson, Timothy Leary, founder of borrowed film equipment. Spectacle is also pleased to premiere a selection side of Los Angeles one rarely sees and stands as an homage of sorts to the very VPL Research Jason Lanier, and encompassing musicians, animators, plastic of additional footage recently digitized by the Fales Collection at NYU. SHE’S first films shot in the city. surgeons, crafters, and self-proclaimed hackers, the movie shows and tells REAL (WORSE THAN QUEER), is the sequel, which follows Queercore punk and interspersed with then-cutting-edge CG animation and graphic effects. examines the idea of subcultures-within-subcultures. MAKE OUT WITH VIOLENCE: Dir. Deagol Brothers, 2008. USA, 105 min. 5/3 10:00p • 5/14 10:00p • 5/18 10:00p • 5/30 7:30p THIS IS NOT A TEST: SHORTS 1990-1998: Dir. Various, 1990-1998, USA, 88 min. EPHEMERA: SOCIAL MACHINES: Dir. Various, 1939-2008. USA, 75 min. Teeangers Patrick and Carol mourn the loss of their friend Wendy until they 5/7 10:00 PM • 5/19 7:30p • 5/23 7:30p 5/9 10:00p • 5/15 5:00p • 5/28 10:00p Frustrated within a mostly male college film program, Miranda July began placing discover her animated corpse. They search for ways of resurrecting her spirit or, Robo-human relations get a bad rap in media – if it’s not machines gaining open calls for female film work in Riot Grrrl zines nationwide. She would then failing that, satisfy their love between the living and the dead. sentience, rising up and brutally enslaving/destroying human oppressors, compile all of the submissions, record them to VHS, and send them back to the it’s some human going mad with technologically-enhanced power, with the filmmakers as a chainletter tape entitled “Big Miss Moviola.” The tapes included SOYUZMULTFILM ANIMATION SERIES: occasional cyborg killing spree or computer-to-human virus spreading. SOCIAL work by artists such as Mary Billyou and K8 Hardy. This program documents the MACHINES aims to correct this dystopian bias by highlighting decades of evolution of that filmic movement: from the disruptive, violent, and often hilarious CHILDREN ON FIRE IN THE USSR early films to the irreverent experiments of the videotape age. positive, if goofy and awkward, man-machine interaction. Soyuzmultfilm is an abbreviation of Union Children’s Animations, a state-run industry that employed over 700 skilled laborers in animation, stop-motion, GRRRL LOVE AND REVOLUTION: Dir. Abby Moser, 2011. USA, 42 min. and puppetry productions. Despite the extreme artistic repression of the day, AN INITIATION INTO VIOLENT EXHIBITIONS OF MACHINE WOMEN’S PUNK ART MAKING PARTY: Dir. Mary Billyou, 1996. USA, 33 min. animations were able to evade some of the adult rules and take on projects PERFORMANCE: THREE DECADES OF SURVIVAL RESEARCH LABS: 5/4 7:30 PM • 5/15 7:30p • 5/28 7:30p regardless of their commercial value. Soyuzmultfilm’s work has topped lots of Dir. Various, 1979-2015. USA, 75 min. Two documentaries of the collectives, meetings and events that united artists in best-of lists, imparting Russian storytelling with uniquely crafted animation. 5/20 10:00p • 5/26 7:30p • 5/31 10:00p New York and DC respectively. GRRL LOVE shows the challenges of maintaining For three decades, Survival Research Labs has awed and intimidated with large- DIY spaces within a nationally recognized Riot Grrrl movement, and WOMEN’S FOLKTALES IN THE FOG: USSR SHORTS scale, fantastically destructive mechanized performance art. Founded in 1978 by PUNK ART documents the experiences of six members of the beehive collective. HEDGEHOG IN THE FOG: Dir. Yuriy Norshteyn 1975. USSR, 11 min.
Load more

Recommended publications
  • Socially Engaged Art Project to the Curb and B.Pdf
    SPRING ZINE-ING - TO THE CURB AND BEYOND JUNE 2021 OONAGH E. FITZGERALD Art Making, Sharing, Performing & Completing in the Neighbourhood as we Emerge from the Pandemic A SOCIAL ENGAGED ART PROJECT ZINES DIY self-published, independent, pamphlets, magazines, artbook, comics etc. Recent examples: skater, graffiti, Black Lives Matter Touchable, affordable, personal, raw Artists: Walter Moodie, Emmanuel Okot, Ross Le Blanc, Mikaela Kautkzy, Venise 410B, Raphael Fitzgerald-Biernath https://www.theguardian.com/music/gallery/2013/ jun/30/punk-music “riot grrrl no. 1, Molly Neuman and Allison Wolfe, July 1991. All you need to riot grrrl 1980’S - start a counter-culture revolution is a few sheets of A4 paper, a typewriter, a 90’S photocopier, a Sharpie and some old magazines. Zines were fast to produce and easy to distribute. My Life with Evan Dando, Popstar, Kathleen Hanna. In 1993, Bikini Kill’s Kathleen Hanna created a visually raw mock-psychotic fanzine … to explore violence, objectification, misogyny and the politics of creative success… inspired in part by rage and horror at the anti-feminist [Montreal] mass … [murder]”. A VOICE FOR “Slant no. 5, Mimi Thi Ngyuen, 1996. ANYONE & riot grrrl was criticised for failing to be truly inclusive, or EVERYONE transcending its status as a predominantly white, middle-class movement. But there were riot grrrls of colour, who in classic punk style seized back the conversation on race. Zines such as Slant, Bamboo Girl, Evolution of a Race Riot and Chop Suey Spex refused the identity, as Ngyuen puts it,
    [Show full text]
  • Disidentification and Evolution Within Riot Grrrl Feminism Lilly Estenson Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 (R)Evolution Grrrl Style Now: Disidentification and Evolution within Riot Grrrl Feminism Lilly Estenson Scripps College Recommended Citation Estenson, Lilly, "(R)Evolution Grrrl Style Now: Disidentification and Evolution within Riot Grrrl Feminism" (2012). Scripps Senior Theses. Paper 94. http://scholarship.claremont.edu/scripps_theses/94 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. (R)EVOLUTION GRRRL STYLE NOW: DISIDENTIFICATION AND EVOLUTION WITHIN RIOT GRRRL FEMINISM by LILLY ESTENSON SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR CHRIS GUZAITIS PROFESSOR KIMBERLY DRAKE April 20, 2012 Estenson 1 Table of Contents Introduction ---------------------------------------------------------------------------------------- 2 Chapter 1: Contextualizing Riot Grrrl Feminism ---------------------------------------- 20 Chapter 2: Feminist Praxis in the Original Riot Grrrl Movement (1990-96) ------- 48 Chapter 3: Subcultural Disidentification and Contemporary Riot Grrrl Praxis --- 72 Conclusion ----------------------------------------------------------------------------------------- 97 Works Cited -------------------------------------------------------------------------------------
    [Show full text]
  • 'Race Riot' Within and Without 'The Grrrl One'; Ethnoracial Grrrl Zines
    The ‘Race Riot’ Within and Without ‘The Grrrl One’; Ethnoracial Grrrl Zines’ Tactical Construction of Space by Addie Shrodes A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Winter 2012 © March 19, 2012 Addie Cherice Shrodes Acknowledgements I wrote this thesis because of the help of many insightful and inspiring people and professors I have had the pleasure of working with during the past three years. To begin, I am immensely indebted to my thesis adviser, Prof. Gillian White, firstly for her belief in my somewhat-strange project and her continuous encouragement throughout the process of research and writing. My thesis has benefitted enormously from her insightful ideas and analysis of language, poetry and gender, among countless other topics. I also thank Prof. White for her patient and persistent work in reading every page I produced. I am very grateful to Prof. Sara Blair for inspiring and encouraging my interest in literature from my first Introduction to Literature class through my exploration of countercultural productions and theories of space. As my first English professor at Michigan and continual consultant, Prof. Blair suggested that I apply to the Honors program three years ago, and I began English Honors and wrote this particular thesis in a large part because of her. I owe a great deal to Prof. Jennifer Wenzel’s careful and helpful critique of my thesis drafts. I also thank her for her encouragement and humor when the thesis cohort weathered its most chilling deadlines. I am thankful to Prof. Lucy Hartley, Prof.
    [Show full text]
  • Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33
    Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33 ________________________________________________________________________ 0:00:00 Davis: Today is June 15th, 2017. My name is John Davis. I’m the performing arts metadata archivist at the University of Maryland, speaking to Allison Wolfe. Wolfe: Are you sure it’s the 15th? Davis: Isn’t it? Yes, confirmed. Wolfe: What!? Davis: June 15th… Wolfe: OK. Davis: 2017. Wolfe: Here I am… Davis: Your plans for the rest of the day might have changed. Wolfe: [laugh] Davis: I’m doing research on fanzines, particularly D.C. fanzines. When I think of you and your connection to fanzines, I think of Girl Germs, which as far as I understand, you worked on before you moved to D.C. Is that correct? Wolfe: Yeah. I think the way I started doing fanzines was when I was living in Oregon—in Eugene, Oregon—that’s where I went to undergrad, at least for the first two years. So I went off there like 1989-’90. And I was there also the year ’90-’91. Something like that. For two years. And I met Molly Neuman in the dorms. She was my neighbor. And we later formed the band Bratmobile. But before we really had a band going, we actually started doing a fanzine. And even though I think we named the band Bratmobile as one of our earliest things, it just was a band in theory for a long time first. But we wanted to start being expressive about our opinions and having more of a voice for girls in music, or women in music, for ourselves, but also just for things that we were into.
    [Show full text]
  • The Art Worlds of Punk-Inspired Feminist Networks
    ! The Art Worlds of Punk-Inspired Feminist Networks ! ! ! ! ! ! A social network analysis of the Ladyfest feminist music and cultural movement in the UK ! ! ! ! ! ! A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities ! ! ! 2014 ! ! Susan O’Shea ! ! School of Social Sciences ! ! Chapter One Whose music is it anyway? 1.1. Introduction 12 1.2. Ladyfest, Riot Girl and Girls Rock camps 14 1.2.1. Ladyfest 14 1.2.2. Riot Grrrl 16 1.2.3. Girls Rock camps 17 1.3. Choosing art worlds 17 1.4. The evidence: women’s participation in music 20 1.5. From the personal to the political 22 1.6. Thesis structure 25 Chapter Two The dynamics of feminist cultural production 2.1. Introduction 27 2.2. Art Worlds and Becker’s approach 29 2.3. Punk, Riot Grrrl and Ladyfest 32 2.3.1. Punk 33 2.3.2. Riot Grrrl 34 2.3.3. Ladyfest 40 2.4. The political economy of cultural production 41 2.5. Social movements, social networks and music 43 2.6. Women in music and art and the translocal nature of action 48 2.6.1. Translocality 50 2.7. Festivals as networked research sites 52 2.8. Conclusion 54 Chapter Three Methodology 3.1. Introduction 56 !2 ! 3.2. Operationalising Art Worlds, research aims and questions 57 3.3. Research philosophy 58 3.4. Concepts and terminology 63 3.5. Mixed methods 64 3.6. Ethics 66 3.6.1. Ethics review 68 3.6.2.
    [Show full text]
  • REFORMULATING the RIOT GRRRL MOVEMENT: GRRRL RIOT the REFORMULATING : Riot Grrrl, Lyrics, Space, Sisterhood, Kathleen Hanna
    REFORMULATING THE RIOT GRRRL MOVEMENT: SPACE AND SISTERHOOD IN KATHLEEN HANNA’S LYRICS Soraya Alonso Alconada Universidad del País Vasco (UPV/EHU) [email protected] Abstract Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a sig- nificant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music. Keywords: Riot Grrrl, lyrics, space, sisterhood, Kathleen Hanna. REFORMULANDO EL MOVIMIENTO RIOT GRRRL: ESPACIO Y SORORIDAD EN LAS LETRAS DE KATHLEEN HANNA Resumen 99 La música se ha convertido en un espacio en el que debatir temas como el género, la iden- tidad o la igualdad. Con este trabajo pretendo llevar a cabo un análisis crítico del discurso con perspectiva feminista de las letras de canciones de Kathleen Hanna (1968-), cantante y compositora americana, pionera del movimiento punk y figura principal del movimiento Riot Grrrl. Cubriendo temas relevantes relacionados con la condición de las mujeres, las letras de Hanna sitúan temas relacionados con el género en primera línea y se convierten en un medio significativo para reclamar el feminismo en la música underground.
    [Show full text]
  • Punk Feminism
    Harmony House 561 Lomita Drive Stanford, CA 94305 diversityarts.stanford.edu (650) 723-4402 ph (650) 723-6441 fx PUNK FEMINISM: Girl Bands, Violence Girls, Riot Grrrls A Panel Discussion & Performance Presented By RuBén Martínez, VisitinG Artist, Institute for Diversity in the Arts Featuring: Allison Wolfe (Sex Stains, Bratmobile) Alicia Velasquez (a.k.a. Alice Bag of The Bags) Evelyn McDonnell (author, Queens of Noise: The Real Story of the Runaways) May 12, 2015, 11:30am – 1:30pm The event is free and open to the puBlic, and a catered lunch will be served. CCRMA Stage The Knoll, 660 Lomita Court Stanford, California 94305-8180 *** A trio of punk feminist pioneers – a musician/songwriter, a musician/author and an award- winning journalist and author – visit Stanford for a performance panel of music, spoken word and commentary revealing the roots of the punk feminist movement and asserting its relevance today. The “Riot Grrrl” movement took off in the Seattle/Olympia Washington area in the early 1990s and Allison Wolfe of Bratmobile was there. A decade and a half earlier, Alicia Velasquez, a.k.a. Alice BaG, fronted the seminal East L.A. punk band The Bags. Veteran journalist and author Evelyn McDonnell has witnessed all the important alternative and underground scenes in which women have played key roles during the last three decades. Between the three of them there is deep knowledge of Chicana punk, the Los Angeles “new music” scene of the late 1970s and early 1980s, the trials and tribulations of women in the music industry (McDonnell’s recent book tells the story of the 1970s “girl band” The Runaways), and a generation’s worth of feminist cultural production.
    [Show full text]
  • The Sounds of Queer Justice
    The Queer Sounds of Justice: Contemporary Queer Musicking and Transformative Justice in The United States S.M. Gray Submitted in Partial Fulfillment of the Prerequisite for Honors in Peace and Justice Studies Program April 2012 © 2012, S.M. Gray Table of Contents Acknowledgements _____________________________________ i Introduction: Terminology, Process, and Construction of Narrative ___________________________________________ 1 1. Girlyman’s “Young James Dean”: A Tribute to the Pioneers of the Women’s Music movement__________________ 24 2. Positionality and Activism within Musicking: The Women’s Music movement of 1988__________________________35 3. From Ani DiFranco to Coyote Grace: A Queer and Feminist Blender of Politics, Gender, Genre, Sex, and Desire_______49 4. The Muses of Mustached ElectroLovers: Homos and Queer Punks, Angry Grrrl Feminists, and Lesbionic Dykes____________65 5. Contemporary Queer and Trans(Feminist) Musicking: Technology, Embodiment, Temporality, and Intersectionality__________91 Conclusion: Queer Musicking and A Broader Transformative Justice Framework______________________________117 Bibliography__________________________________________137 Acknowledgements I am so excited to finally be sharing my year-long endeavors with colleagues, friends, and family. It has been a long journey, and I am so grateful to all of you who have helped me along the way. Thank you so much to all of the musicians who have been so supportive through this process: the members of Girlyman, Coyote Grace, Katastrophe, Athens Boys Choir, Grygiel, The Shondes, Lovers, Des Ark, MC Micah, Kera Washington and Zili Musik, and Schmekel. I have been so inspired and supported by all of you through my research, and have learned so much from all of you. Thank you for sharing your sounds and stories with the world. I want to extend a huge thank you to Larry Rosenwald for his calming demeanor, quiet support, outgoing intellectualism, and laidback deadlines.
    [Show full text]
  • Killing Ourselves Is Not Subversive AM
    1 This is an Accepted Manuscript of an article published by Taylor & Francis in Women: A Cultural Review on 16 July 2015, available online: http://www.tandfonline.com/doi/full/10.1080/09574042.2015.1035021 Abstract: This article draws on material from the riot grrrl archives at New York University’s Fayles Library to examine the culture of ‘zine’ production in US riot grrrl communities during the 1990s. After investigating the relationship between the political issues and aesthetic strategies explored by riot grrrl literary producers, I analyse the points of tension arising within the movement which become illuminated by zines’ revelatory confessional modes, or what Mimi Thi Nguyen has called riot grrrl’s ‘aesthetics of access’. I subsequently enquire after the implications for riot grrrl politics of understanding experiences of oppression and transgressive behaviour as cultural commodities. Finally, I go on to trace the commodification of the transgressive feminist gesture in mainstream popular culture and contemporary US online feminist activism. Biographical information Emily Spiers is a Research Associate at the Department of European Languages and Cultures at Lancaster University. Her doctoral thesis explored modes of popular contemporary feminist writing in the US, Britain and Germany. She is currently researching feminist literary activism in relation to spoken-word poetry. Keywords: Riot grrrl; zines; postmodernism; autofiction; the Internet; transgression; feminism; popular culture 2 ‘Killing Ourselves is not Subversive’: Riot
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Rasquache Or Die
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Rasquache or Die!: Chican@/Latin@ Punks Presente! A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Chicana and Chicano Studies, By Emma Cordova August 2015 The thesis of Emma Cordova is approved: ___________________________________ ______________ Dr. Christina Ayala- Alcantar Date ___________________________________ _____________ Dr. Peter Garcia Date ___________________________________ _____________ Dr. Denise Sandoval, Chair Date California State University, Northridge ii Table of Contents Signature Page ii Acknowledgments iii Abstract iv Chapter 1: Introduction 1 Chapter 2: Literature Review 23 Chapter 3: This Is El Lay: Loquera, Consciousness, and Survival 51 Forming: Getting into the Chican@/Latin@ punk scene 52 Para Las Chicas Rockeras: Mujeres (Re)Claiming Space in Punk 59 Out of the closet and into the pit 73 Rasquache or Die: Chican@/ Latin@ Punks Creating Consciousness and Alternatives 82 What Happens Next?: Community Building and Scene Preservation 95 Conclusion: Desde Afuera: Closing Thoughts and Reflections 111 Works Cited 120 iii Acknowledgments I will forever be indebted to the people who participated in the interview process and who were willing to share their stories with me. I hope that the readers will find your voices as inspiring as I found them. I am immensely grateful for your words and your willingness to trust me with them. I would also like to thank my family. Though my ma may never fully comprehend what this project means she has always stood beside me and respected my decisions. To my brother who over ten years ago took me to my first show, showed me the unstated rules of the pit, who has let me grow into my own person, thank you for all your lessons.
    [Show full text]
  • The Riot-Grrrl Feminism of the Early 90S in North America: the Punk Scene
    FACULTADE DE FILOLOXÍA GRAO EN INGLÉS: ESTUDIOS LINGÜÍSTICOS E LITERARIOS The Riot-Grrrl Feminism of the Early ‘90s in North America—The Punk Scene Student: Elena Sánchez Barbeito Advisor: J. Miguel Alonso-Giráldez Year: 2019 Table of Contents Abstract .............................................................................................................................. III Introduction .......................................................................................................................... 1 1. Origins, Context & Foundations ..................................................................................... 2 1.1 Origins .................................................................................................................... 2 1.2 Ideologies ............................................................................................................... 7 1.2.1 Feminism: The Third-wave .............................................................................. 7 1.2.1 Punk ................................................................................................................ 9 2. Different Issues Tackled by Riot Grrrls ........................................................................ 14 2.1 Riot Grrrl Values: Revolution, Girl Support, and Girl Power ................................. 14 2.2 “We are Pro-People Without Voices”: Male Chauvinism & Sexism in the Punk Rock Scene .....................................................................................................................
    [Show full text]
  • How to Take Care of Unruly Archives
    How to take care of unruly archives A conversation with Lisa Darms, editor and archivist of The Riot Grrrl Collection Lucie Ortmann (Essen) During the 1990s, members of the US American feminist movement Riot Grrrl articulated their message not only in punk rock, but particularly in multimedia fanzines and flyers, which they hand-lettered, drew, then copied and stapled and distributed themselves. These publications came out irregularly and they often lack dates or numbers. The book publication The Riot Grrrl Collection (The Feminist Press 2013), edited by Lisa Darms, presents a plethora of printed matter previously only available in local and limited editions to a new, broader audience. Alongside the reproduction of entire zines, excerpts and flyers, the book also includes samples of letters, hand- written lyrics and drawings, all presented in roughly chronological order. The size of the printed matter and other pieces of writing, sketches and drawings is adapted to the pages of the book – this makes the size of the individual documents more uniform, which helps legibility, but also subdues differences at first sight. © Lucie Ortmann: How to take care of unruly archives | MAP 9 (Mai 2018) | www.perfomap.de 1/10 Fig. 1-3, Flyer [The Revolution starts Here and Now…]. Kathleen Hanna, 1990. The Kathleen Hanna Papers. [Darms 2013: 18-19]. By courtesy of Kathleen Hanna; Zine: Riot Grrrl no. 4. Molly Neuman, Allison Wolfe, and others, circa 1992. The Kathleen Hanna Papers. [Darms 2013: 46-47]. By courtesy of Molly Neumann, Allison Wolfe; Zine: My Life with Evan Dando, Popstar. Kathleen Hanna, 1993. The Kathleen Hanna Papers.
    [Show full text]