1 This article is downloaded from http://researchoutput.csu.edu.au It is the paper published as: Author: Strong, C.L. Title: Grunge, Riot Grrrl and the forgetting of women on popular culture Journal Title: Journal of Popular Culture ISSN: 0022-3840 Year: 2011 Volume: 44 Issue: 2 Pages: 398-416 Abstract: Nil URL: http://dx.doi.org/10.1111/j.1540-5931.2011.00839.x http://primo.unilinc.edu.au/primo_library/libweb/action/dlDisplay.do?vid=CSU&docId=aleph002052257 Author Address:
[email protected] CRO Number: 26666 Grunge, Riot Grrrl and the forgetting of women in popular culture 2 Grunge, Riot Grrrl and the forgetting of women in popular culture Dr Catherine Strong Charles Sturt University During the early 1990s, the musical genre of ‘grunge’ (with its associated cultural trappings such as clothing and certain attitudinal/ political elements) first came to prominence on a large scale when Nirvana’s album Nevermind unexpectedly became a huge hit. Prior to this, the grunge ‘scene’ had been centred on Seattle and the Sub Pop record label. Often described as a cross between punk and heavy metal (Mazullo 719), musically grunge had a ‘dark’, guitar-based sound based around a traditional rock line up (guitar, bass and drums). An unusual feature of the grunge scene was the relatively high proportion of female performers and bands, and this, combined with explicit anti-sexism stances taken by prominent male grunge musicians such as Kurt Cobain, and its close proximity to the feminist Riot Grrrl movement, served to position it as a more gender-neutral scene than many others in ‘rock’.