Third Wave Feminism A Case Study of BUST Magazine by Lettie Conrad 2001 California State University, Northridge Thesis, Mater of Arts in Mass Communication CHAPTER I INTRODUCTION The artistic and ideological expressions of independent and underground publications are vehicles of oppositional thought, providing channels of communication to groups otherwise marginalized by mainstream, corporate-produced media. In the absence of status-quo promoting commercial forces, independent and self-produced print media freely express unorthodox thought, connect and educate political movements, and preserve the theoretical and aesthetic attributes of revolutionary communities. The Third Wave feminist1 press2 is no exception, initiated by riot grrrl3 zines4 popular in the early 1990s (such as Girl Germs, Fantastic Fanzine, and I’m So Fucking Beautiful) and dominated by feisty and savvy, glossy feminist magazines (such as BUST, Bitch, and Fabula), providing a voice to this new, postmodern5 generation of feminists.6 1 Third Wave feminism is defined as that feminist thought influenced by postmodern social theory in a way which embraces contradictory and multiperspectival feminisms, finds joy and power in hybrid theoretical struggles, and makes use of the existing culture to the greatest benefit. The Third Wave is situated in contrast to prior surges of feminist organization: the First Wave (sparked by the Seneca Falls conference in 1848) and the Second Wave (beginning in the 1960s with civil rights movements and Betty Friedan’s Feminine Mystique, and gaining momentum in the 1970s). The term “wave” used to demarcate phases of feminist movement was coined in the 1970s to differentiate Second Wave feminist trends from women’s rights struggles of the 19th century. See pages 11-15 for more definitions, and Chapter II for more discussion on feminist historiography. 2 Reference to the Third Wave feminist press in this research designates both underground and mainstream print publications expressing theoretical and cultural evidence of Third Wave feminism. As feminist media have rarely enjoyed great commercial support, many feminist periodicals have relied on underground or independent means of publication. The feminist press in general is not easily classifiable and, for purposes of this study, the Third Wave feminist press will be considered to include the spectrum of magazines, from self-produced zines like Mystery Date and independent commercial magazines like BUST as well as corporate magazines like Jane. 3 Once the name of a short-lived all-female punk band, riot grrrl refers to the style and attitude of the radical, activist-oriented female punk bands that emerged from the grunge movement in Olympia, Washington in the early 1990s. See pages 11-15 for more definitions of riot grrrl. 4 First used in 1965, zine is defined by the Oxford English Dictionary as a shortened version of fanzine. Oxford English Dictionary, 2nd ed., s.v. “zine.” In the context of this study, the word zine refers to a hand-made, not-for- profit mini-magazine. See pages 11-15 for more definitions of zines. 5 George Ritzer presents six characteristics of postmodernism: 1) critique of and disappointment in modernity, 2) rejection of a “single, grand perspective or answer,” 3) focus on humanistic elements such as experience and emotion, 4) blurring boundaries between unnatural binaries within academia, race and sexuality, 5) rejection of “careful, reasoned style” of modern culture, and 6) focus on that which has been marginalized or otherwise ignored. George Ritzer, Postmodern Social Theory (New York: McGraw-Hill, 1997), 8-9. 6 Following the example of Leslie Heywood and Jennifer Drake, this research identifies the Third Wave as having birth dates between 1963 and 1974. Leslie Heywood and Jennifer Drake, eds., Third Wave Agenda: Being Feminist, Doing Feminism (Minneapolis: University of Minnesota, 1997), 4. 1 Addressing a range of topics, from music and fashion to date rape and masturbation, riot grrrl zines and glossy Third Wave feminist magazines offer forums for expression not available through commercial media. As Third Wavers react to the theories and politics of Second Wave feminism (feminist movement of the 1960s and 1970s), Third Wave feminist publications express ways in which young feminists negotiate the cultural terrain of late 20th century and early 21st century America. In the limited research dedicated to underground media, there is scant mention of Third Wave feminist publications of the 1990s.7 As Third Wave feminist movements are included in feminist scholarship, new feminist print media is being given due consideration.8 In order to gain a deeper, more detailed, understanding of the Third Wave feminist press, this study focuses on the New-York-based feminist lifestyle magazine BUST. Launched in 1993 by Debbie Stroller, Marcelle Karp, and Laurie Henzel, BUST is a Third Wave feminist outlet that announces that it is “The Magazine for Women with Something to Get Off Their Chests.”9 Drawing on the confessional and confrontational style of the feminist teen magazine Sassy,10 the editorial trio wanted a feminist magazine for women ages 18 and beyond, with a similar blend of the personal and the political. Although first appearing11 as an underground, hand-made zine grown out of the riot grrrl tradition, BUST quickly evolved into an independent mass-produced, glossy format magazine.12 7 For more on additional research on the Third Wave feminist press, see Chapter II: Literature Review. 8 This increased academic interest in Third Wave feminism is evidenced by this research, as well as academic work by Ednie Kaeh Garrison, David R. Hall, Leslie Heywood, Jennifer Drake, Alison Covarriubias, and Jennifer Schack, and public press writing by Rebecca Walker, Jennifer Baumgardner, Amy Richards, and Debbie Stoller. See Bibliography for complete references. 9 Debbie Stoller and Marcelle Karp, eds., The BUST Guide to the New Girl Order (New York: Penguin, 1999), cover. 10 Sassy was the brainchild of Jane Pratt (now editor of Jane magazine) – a girl’s magazine published by Lang Communications from 1988-1994. It was known for its poignantly confessional tone that related to girls and young teens as intelligent individuals, encouraging them to be strong, honest, and creative. 11 See Appendix XI (BUST no.1). 12 See Appendix XVI (BUST no.16). 2 The BUST team invests each dollar made from the sale of the magazine, reaching more Third Wave feminists with each edition. Never retaining any money from BUST’s proceeds, each consecutive issue is superior to the last, with more pages, sharper color, and better production value. Today, still headquartered in New York, BUST is owned by the independent publisher Razorfish Studios.13 The buyout was final in the spring of 2000, resulting in a partnership where this independent media company provides office, salary, and advertising support for the BUST staff to produce the same, unchanged periodical they have been printing autonomously for seven years. BUST has stayed true to its riot grrrl zine roots throughout its changing features and professional-magazine improvements. BUST has maintained the focus and purpose of the riot grrrl press: to unite, inform, and mobilize young feminist women. At the time of this research, BUST has retained many zine-style aspects, such as a commitment to a multiperspectival, anti-essentialist approach that does not compromise its feminist ideals for big-money advertising. Preserving its radical, subcultural attitude, BUST has survived and thrived, increasing its scope with each year of publication. In 1999, BUST readership was estimated at 7,000. As of September 2001, BUST served approximately 300,000 readers14 and is distributed in major cities throughout the nation’s independent and chain bookstores.15 The purpose of this study of study Third Wave feminist zines in general, and BUST in particular, is to articulate emerging Third Wave feminist theories, as expressed in the Third Wave feminist press, for academic consideration. Beyond greater scholastic 13 As a division of Razorfish, Inc., a digital services consulting agency, Razorfish Studios is an independent holding company that “develops unique, daring brands into recognized worldwide entertainment properties,”13 with investments such as www.disinfo.com (a conspiracy theory Web site) and Self Timer Films (R.E.M. singer Michael Stipes’ production company). Razorfish Studios, “About,” [company Web site]; available from, http://www.siliconalleydaily.com/issues/sar11092001.html. The editors and management staff refused to disclose details regarding BUST’s contract agreements with Razorfish. 14 Kat McAndrew of BUST magazine, interview by author, 20 September 2001, email correspondence. 15 BUST is sold by independent bookstores in major cities such as Los Angeles, Boston, Chicago and Seattle, as well as chain bookstores, such as Borders Books & Music, across the nation. 3 understanding of these expressions of young women in the 1990s and early twenty-first century, these artifacts of feminist subculture should be preserved for future cultural and historical exploration. The do-it-yourself (DIY)16 nature of independent publication, adopted from American and British punk subcultures, has empowered young women through self- expression uncensored by mainstream society and the social agendas of commercial media. Although antithetical to subcultural dicta of avoiding the visibility that comes with media or academic attention, applying the tricks of the girl-zine