Palabras clave misma. la de cultural mujeres música la en las de invisibilidad la y, sororidad yla analizaré ello, con espacio del interpretación una muestran Tigre Le y Kill Bikini en Hanna de letras que las las en ocasiones atención alas prestaré estudio la en música feminismo el reclamar para significativo medio un en convierten yse línea primera en género el con relacionados temas sitúan Hanna de letras mujeres, las las de condición la con relacionados relevantes Cubriendo temas Grrrl. Riot movimiento del principal yfigura punk pionera movimiento del y compositora americana, (1968-), Hanna cantante Kathleen de canciones de letras las de feminista perspectiva con discurso del crítico análisis un acabo pretendo llevar trabajo este Con igualdad. ola tidad iden género, el la como temas que el debatir en espacio un en convertido ha se música La Resumen Keywords music. of this understanding cultural and social the broaden music and women’s underground in discuss invisibility so, Iwill by doing and space and of sisterhood areading exhibit Tigre Le and Kill Bikini in Hanna’s lyrics which in instances the to pay attention I study this In underground. the in feminism claim to means nificant a sig become forefront and to women’s at the put issues gender Hanna’s lyrics conditions, related issues relevant RiotCovering movement. Grrrl the of figure head and culture punk (1968-), Hanna underground the apioneer Kathleen within songwriter and singer American by lyrics of the analysis discourse critical out afeminist atcarrying Iaim study this With equality. gender, and as identities such issues to discuss domain acrucial become Music has Abstract SPACE AND SISTERHOOD IN ’S LYRICS HANNA’S KATHLEEN IN SPACE SISTERHOOD AND REFORMULATING THE MOVEMENT: GRRRL RIOT THE REFORMULATING : Riot Grrrl, lyrics, space, sisterhood, Kathleen Hanna. Kathleen sisterhood, space, lyrics, Grrrl, : Riot ESPACIO Y SORORIDAD EN LAS LETRAS DE KATHLEEN HANNA KATHLEEN DE LETRAS LAS EN YSORORIDAD ESPACIO Revista Clepsydra Revista : Riot Grrrl, letras, espacio, sororidad, Kathleen Hanna. Kathleen sororidad, espacio, letras, Grrrl, : Riot REFORMULANDO EL MOVIMIENTO RIOT GRRRL: RIOT MOVIMIENTO EL REFORMULANDO DOI: DOI: Universidad del País Vasco (UPV/EHU) Vasco País del Universidad https://doi.org/10.25145/j.clepsydra.2021.20.05 Soraya Alonso Alconada Alonso Soraya [email protected] , 20; febrero 2021, pp. febrero 99-119;, 20; e-2530-8424 ISSN: underground y ampliaré el entendimiento social y social entendimiento el yampliaré underground

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REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 99 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 100 cation ofcation FCDAmusic. popular in appli valuable the attempt to O’Brien confirm an or in Lucy McClary Susan Attali, Jacques of works as some such the critics authors and present first Iwill reason, For music this and studies. of feminism fields the rent within topics concerns and diffe targets that of complexities the aperspective to face particular, to the general more from the journey academic on to Iconsider embark an itThus, important is work abroader in scenario. this to place it necessary is detail, in lyrics the ning of FCDA. purpose But the match may before exami lyrics analyzing that I argue my Meyerhoff Holmes 2003) study and 2002; with Sunderland and and Litosseliti method foremost, and First this in produced discourses on FCDA) those focuses (hereafter analysis discourse context” (Van critical Dijk political derived from it, and and feminist 466), social the in talk and by text resisted and reproduced, legitimated, enacted, are inequality and way abuse social-power the studies primarily that research analytical “discourse of examination. worthy scholarly are that themes cultural and social reflects sample that literary apotential as analysis lyrics’ of proves study appropriate usefulness the this to vindicate that Ibelieve lity. Also favor in of re-appropriate equa and discourse toto rethink present ways alternative Iwant topics. 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INTRODUCTION 0. , French and economist by and and - - - - - Charles Hiroshi Garrett, whose focus is on American culture and music, states that music has the the has music that states music, and culture on American is focus whose Garrett, Hiroshi Charles and (xii-xiii); society” our in of culture sources important most one of the is music “popular that in explain instance, for Vannini, Phillip and Kotarba society music not does (5). reflect just suggests, Moreover, McClary musicologist Susan as distorted” recorded, and defined, reflected, is activity every which rolering “in away of of world comprehending amirro becomes politics the the when it takes music explains, Attali on As relied music to voice vindications. always its many has ne’s Blues” (1967) “Blacklash movement). rights civil the general, in in Activism, (e.g. John Lennon’s “Give (1969) war Peace aChance Vietnam anti Nina Simo and of anthems status the of people achieving view action, the and representing of social movements beginnings the since activist Protest have accompanied songs trations. discourses: political order in to reveal channel tical powers. cultural and social political, reflects that construct asocial be also music can regard, this In them. to address probably fail record will hence, that consumers, main as not targeted be people black will probable working-class that record, it quite same is of distribution that the in white people participate le-class only midd if or belittled; women’s potential diminished be that will perspectives men control if production assume the For of arecord, well. we can tool instance, as music apolitical becomes sense, that In system. the of sustain power that structures latent the composition, production, consumption of and music distribution ascertain 6). The (Attali political” of power, it control essentially is and areflection that is its appropriation that noise, realizing to all to music listening is power: “Listening of political reflection anon-objectified tool, as or sociological but apersonal also as 4). Moreover,world (Attali a“tool and music of not understanding” emerges only object of an out study, to more the be itturns away of than and perceiving becomes (3). to achieved be at hand still Hence, music hopes are what and us, leading are calculations where folly of their the men and understand better to noise we can ning by to liste him, According by statistics. its economic or social than rather festivals, by its and by to its art, its sounds, by listening to judge asociety we should try that Itfor It beholding. not the is for is legible, hearing. but audible” (3). suggests Attali world the not that is to look to tried understand upon world. the has failed It has Western before: “For centuries, knowledge to centuries be thought twenty-five was it legible, as world our audible rather that is than today affirms writer Jacques Attali 1 in a passive way: apassive in 1 demons role political in important played an always has Music, for instance, (306) for protest. vehicle a mass as of rock medium the used have 1980s, of the performers spectacles Aid stadium vast 1950s various the in the and folkies 1940s of the to Communist blues singers From angry music. pop the within strand arich been always has dissent Political music aprac O’ Brien becomes states, writer Lucy and journalist British As

Different authors have worked on the connection between music and society. Joseph Joseph society. and music between connection on the worked have authors Different Understanding Society Through Popular Music ------

REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 101 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 102 and that also make it a unique blast in the development the itin women aunique blast of musicians. make future also that and wave feminism third movement the with that shares pate some of characteristics the Iconsider appropriate of lyrics the to antici of analysis the understanding a better order in to Thus, have lyrics. their in appear movement also the that concerns targeted most of the fact, in and, Kill Bikini like bands on all-girl the influence adirect has how the pages, next show the in Iwill music and open may up As nism debates. on how example of union femi the an set bands These rock. punk as such genres in way some the people women’s saw changed whose music attitudes and participation bloomed 1990s the that in Grrrl bands and of Riot It protests. case the is feminist report and to explain music entails that platform the to use someand have begun men) muchthan more less (yet, more and women have visible become music in charts time, same at the and, inspection to critical moreonwards, women access have had From 1970s the by works women artists. specific highlighting and music history in participation their sion recognition, of vindicating and women from visibility contribute conditions that exclu to the cultural and social the examine will theory women’s way, critical production. marginalized this In feminist has that music canon 20 of the second half the in scholars music’s feminist foundation, different patriarchal popular order music. In approaches to to reveal popular of critical redefinition and 1970s the in criticism contributedemergence of asolid feminist review to the also occupied. position women that have historically about social music the tells fact, of a matter women. more concerns what in so As configuration, ofdations cultural one foun is the way to study lenses and/or valuable academic critical music through 8) led of to intense gender controversy terms in identity (Mcclary Western -music has history through -especially history Through and/or contrasted. adopted, are affirmed of models genderpublic organization different which platform in a as Shaw xii). music and serves From perspective, terms” (Carson, afeminist Lewis (O’Brien issue” a“political music as describe 15) world the political “changes in that unquestionable of source power. an fact, and in Some scholars, discourse tructed idea, an experience or an activity, music is the result of the play of social forces” (ix). forces” of social play of the result the is music activity, or an experience an idea, opens Frith Simon line, same (5). that In knowledge” cultural and historical, of social, bearer essential an as “act to power th century demanded, for instance, a redefinition of the otherwise almost all-male all-male almost of otherwise the aredefinition for instance, demanded, century the Riot Grrrl emerged as one movements Grrrl as emerged of most important the of 1990s Riot the the In parallel to the development of the so called second-wave feminism, the second-wave development to the the feminism, of called so the parallel In asocially-cons become also it and can spreads and music dilates sense, this In to it. respond (21) and transmit, create, that context human the from isolation in undertaken be music cannot in of signification ... study the meaning of social conferring dependent on the always Music is currency. valid as serve signs their that collectively agree them, in of people invest communities because only afloat kept are that activities are both but it language: rent music, neither is in in not is inhe Meaning belief. that with accordance in act it and is that people believe some atleast as insofar precisely meaningful music is discourse social any Like Taking Popular Music Seriously: Selected Essays Selected Seriously: Music Taking Popular by stating that “whether as an an as “whether that bystating . Exploring popular popular Exploring why why and and ------way for those girls who wanted to claim aspot on stage: to who claim wanted girls way for those 1990s Grrrl movement the in Riot and to scene going pave the the punk was the in participants to active be wanted Girls treated. were socially girls which way in the resembled concerts in to bear had girls that mistreatment The gender distinctions. by commanded occupied and aggressively of was front the space lines symbolic and 92). found more crap” (Marcus they of same meaningful the The a refuge, should have been that arealm in alternative, for an presenting itself congratulated to move that asked out and “In of scene: asubculture got the insulted, stands, coat were sides as to pushed commonly the concerts music punk attended and punk 16). (Downes scene” who enjoyed of punk the girls experiences Thus, alternative produced more and DIY gendered and of punk values and troubled meanings the Olympia, in independent culture punk unlike which, speed and virtuosity mental obvious: “A instru emphasized which prescriptive sound evolved DC hardcore in more more and became community punk D.C. within all-male and 1980s the During gender differences culture. dominant the and punk in sexism about empowerment against all vindication it and movement, was that said be it can agency. their unquestionable to exert push an strained artists ambition their as and themselves to express art used Girls appeared. activism of expression ways and new Tigre Le and Kill Bikini as such Grrrl bands of Riot work to the approached thanks music. Indeed, way feminism the altered and girls American movement got to and influence strong grew “local” relatively 84). This Chaparro and (Alonso of bonding” sisterhood and feeling astrong music, sharing of presence by the women of terized involved production the performance in and form of in meet lyrics. text and discourse wherement Hanna’s background from which the becomes that production and arose Now! Style Girl Revolution (e.g. productions more specific And, Portugal. and Spain as women other scenarios in role the of reclaim visible and Triana Nuria Paula make Guerra and Garrigós, tina contributions Other like Britain. United the and in States scenes underground indie the and punk who have shaped Era Punk of the Musicians and Indie Underground Just to mention afew, recent as such works interest. movement) Grrrl academic the of Riot roots toprecisely the the also caught late 1970s, to women’s examination acloser music (and punk in more participation Girls To The Front. The True Story of the Riot Grrrl Revolution To Revolution Girls True The Grrrl Riot of the Front. The Story After the underground culture succeeded in shifting the music scene in the music the the in scene shifting in succeeded culture underground the After male contemporaries jostling for attention and undermining female expression by expression female undermining and for attention jostling contemporaries male by limited was participation their where situations of encountering also, Tired, Grrrl of Riot the birth the surrounding discourse the we inspect if First, 1990 in Rooted D.C., Washington in movement Grrrl Riot “charac the was 1. THE RIOT GRRRL MOVEMENT: ASISTERHOOD MOVEMENT: GRRRL 1. RIOT THE THAT OPENED UP SPACES FOR UP WOMEN OPENED THAT by Maria Raha by Maria written by Helen Reddington make atribute to women make by Helen written Reddington ) focus and recount the story of the Riot Grrrl, move the of Riot the story recount the and ) focus God Save the Queens: Pioneras del Punk Punk del Pioneras Queens: the Save God

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REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 103 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 104 transgendered and queer (LGBTQ) that used a strong DIY () mantra mantra It (Do DIY astrong Yourself) used that queer and (LGBTQ) transgendered bisexual movements gay oriented lesbian and feminist strategies), with together Hippies youth- or and Yippies Punks, Mods, (who the of artistic as use such made movements[...]” social and subcultures by precursor 92). influenced (Marcus Highly ways certain or dressing places certain walking against ubiquitous warnings dards, stan double sexual violence, domestic incest, rape, threats, homophobic teachers, leering heckles, sidewalk and gropes were hallway “ready like to revolt over things behavior, (feminist) girls male these for haters roles criticizing or man family cizing for criti revolution. antifamily for afeminist old, Labeled eager years eighteen and sixteen between girls, were were not regular they they icons, were and not famous support. 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(Chidgey time” first of the the visible part and most important the Music was produces for cultural becoming of girls influx the was initiated riot grrrl shake-ups “One producers at of last: biggest the became consumers, as targeted were usually who girls, that Grrrl is of Riot the part But significant concerns. the social and cultural about individual common and learn and share to talk, space discursive and aphysical to articulate was goal first original The plans. about possible political think and or art produce music, lives, performances their to discuss weekends feminist movement 14). into (Downes feminist of girls young turned Grrrl feminism Riot aradical by creating girlhood day of every experiences to oppose conflicting tried the Grrrl Riot culture, representations popular negative in attempt their to resist an in As Laura Barton has stated, there were other ways of channeling feminist feminist were there of other channeling ways stated, has Barton Laura As (Barton) issues. the among pay equal and rights abortion streets, for safer need the sexuality, rape, abuse, domestic of women, with treatment society’s about anger voice: a political about it was and ; via writing, avoice through finding about also it was but groupies– or being them not watching bands, in music –being about It was the agroup who Olympia met in of during girls as Grrrl started Riot The (Corrigan 150) shortchange. this tolerated longer no who scene punk on the of girls hundreds attracted areas all oppression in male against of women united acommunity as to function desire astated and ration collabo of female ideal the followed, role of the and women follower in casting girl turned into aterm turned - - - - - ideological charge became recognizable signs: recognizable became charge ideological the and style particular that of Both them. a tool society’s to resist as definitions music used they sound and aparticular movement. had Grrrl bands feminist Riot outlet. its most personal 1990 the lyrics found in and Grrrl marked decade Riot development the the in of Grrrl. 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Riot Bradford and Leeds Arms, to ACall Seven, Channel conversation” 304). like Zines (Marcus fodder for the dinner and table reading were coffee “Grrrl the zines America: North 1993, In published were in time. being zines 400 proliferated, nearly first the zines producers for became and or skills experience little with zines own their distribute internet,to home the and write computerscould photocopies, cheap girls and these 118) (Chidgey disorders or eating self-harm abortion, sexuality, image, thanks and body topics as included such varied writings would do, these lyrics As to other girls. connections and to develop them friendships environment, allowing asafe in riences expe personal their exchange could of girls young where acommunity a channel became zines women these 18). as concept (Downes for a key girls young was Safety depreciation of cultural the resist and for women space to safe discuss fundamental a became that culture a thus into words, creating feelings and frustrations acommunity: within them placed and girls these between voicegave collectivity to the (Marcus 82) and specifically” underground rock punk awhole, the in as and society (Downes 25).term The Grrrl room gave Riot to of terms the blending result both the and zine for new the name appealing an to devise were trying Allison Molly and as emerged scene’ grrrl ‘girl terms shows. riot’ The ‘angry on their and in pass could they that something Bratmobile) in (also order in zine Jen to have and Smith, decided to amini write themselves. express them help would that bands and communities all-girl zines, to art, create girls motivating and marches away from traditional moving limits, by widening for century anew feminism ting were re-wri riot grrrls as feminism or mainstream political to the alternative an day feminism, youth resistance and popular culture. (Downes 12) (Downes culture. popular and resistance youth feminism, day moment intomodern a provocative in insight an is history A riot grrrl language. own our create and stories own our tell experiences, our to share possibility the It up opened artist. or an amusician activist, an afeminist, agirl, to be it means what out themselves figure and to rewrite began grrrls Riot discourses, political and literary art, music, in power and voices own their Women found girls and representation of this most obvious visible cultural the and Music became to put their started they other and supported each and connected Girls 132) world the (Chidgey in place her own to her, from means riot grrrl what to define girl for each been always has network of the importance the stars), or media leaders without acommunity (creating organisation of decentralized ethos riot grrrl the with accordance In significant. an been never has there That Wolfe (aAllison Bratmobile), Grrrl band member of Riot the Riot Grrrl zine denounced “the general lack of in power of in girl lack denounced “the zine general official official Riot Grrrl, Jigsaw, , , Kill, Bikini Jigsaw, Germs, Girl Grrrl, Riot periodical for the riot grrrl network is itself itself is network riot grrrl for the periodical or or In Nigh Spite of the - -

REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 105 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 106 before and condemning Riot Grrrl bands. Riot condemning before and Ilisted epithets that those with verbally surfacing disdain, and of anger full was reply were Their not by audiences. some understood male messages whose pro-girl Grrrl bands to other Riot but also Kill, were to not Bikini llations only dedicated appe Those rape. 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And half to half prove people’s time And the wrong. preconceptions all nice to be trying draining It was tiring. club got really every me to nearly proceed label “bitch” the but having settings, all-male in sound-checks doing aband in agirl to be [...] us towards it’s Imean enough hard unforgiving and mean really be could 90’s, early I’m the in People lie. band not gonna afeminist in being hard It was that stimulant the music was and punk and art feminist Grrrl mixed Riot (Hanna, sidelines. on the sitting them left that scene punk of amasculinist landscape the to change and for themselves, feminism we were to reimagine as hungry were as the as rock punk and activism, theory, grassroots art feminist between of contact points the dered “too Iconsi political,” being music suffered, our claimed detractors Though (and personal share and themselves a way to express as lyrics the use They ). Their songs became feminist anthems and their live shows live were their fasci and anthems feminist ). became songs Their Gen X Gen that to be in a band allows women’s allows aband to in be that “There’s voices to heard: be 132) success of our art. 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Iasked abitch cuz just called being Iwas time the According to Kathleen Hanna, the 1990s the movement Hanna, amusic is that scene to Kathleen According WAC). and Girls, Guerilla (Letigreworld) the ACT-UP!, (for Nation, protest Queer example, of social face the were changing groups activist of media-savvy a variety moment which in cultural own its from and history feminist a larger it both from to isolate tended also Grrrl of Riot tives narra Journalistic agitation. and art of feminist constellations disparate unifying or leadership ideology acentralized was there that impression false the gave This attention. media a little gained feminism punk new» «sexy once the Grrrl] [Riot term this under were lumped scenes and artists zines, bands, individuals, Many on based system alternative an were creating or girls not, aware these Being (Hanna, song. Gen X Gen 134). 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REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 107 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 108 (1998-2006) she included patriarchy, topics as as such aliena feminist openly are (1990-1998) Kill she wrote for Most Bikini of lyrics imagery. the Tigre later Le and a straightforward and diction by a powerful characterized Hanna’s are ties. lyrics women’s affected that identi about aspects diverse awareness to raise important really became discourses These time. at the culture underground male-dominated Grrrl. (main) of leader Riot and the feminism wave of third the in activist influential an she became Kill to her role Bikini in thanks yet, remarkable, is Her work bands Samson. JD both and in Benning Sadie (1998-), Tigre Le in expanded Fateman, Johanna worked with has where Hanna ment. 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SISTERHOOD AND SPACE IN KATHLEEN HANNA’S LYRICS HANNA’S SPACE KATHLEEN IN AND SISTERHOOD 2. Bikini Kill would combine politics and punk music order in would punk combine to and oppose politics the Kill Bikini topics, feminist to discuss arena ideal Grrrl movement an Riot The became music rock to who punk listened girls young Grrrl bands, to Riot Thanks - - - - - such as symbolism, imagery, metaphors imagery, or irony. symbolism, as such languages figurative examine Ialso and syntax style, narrative and linguistic their interaction (e.g. attention communicative to focalization), lyrics’ cial and audience for value my study.their FCDA the in Ipay espe Moreover, part important an as reaffirm they so sisterhood communities or and girl spaces on feminist focus “FYR” “Hot Topic,” “On Verge,” The Start,” “After “False Dark,” “LT Tour Theme” and Girl,” “Rebel songs seven The of analysis. the purpose the match do not specifically topics on others or (in to of focus relevance) whereas terms feminist more pertaining for are my and study I significance have have chosen a greater that lyrics the sense society. and this In feminism of have may in them rethinking and reformulating a that implications the and lyrics enunciated the in are concepts howsee feminist to Iwant analyzed. are included each songs in the for work the not and all pertinence thematic on content the feminist based their is election and This Tigre. Tigre Le in in Hanna’s include lyrics Kathleen that of texts corpus on aspecific Ifocus discussed. not are or instrumentation musicality approach notions so songs, to the of rhythm, paragraph. previous the in were discussed that vindications feminist sisterhoodI provide and to related space, some examples FCDA by the applying and approach to pages, her lyrics, next the rooms. 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REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 109 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 110 sisterhood: Girl,” “Rebel 27 the in is which Excellent Songs Of Every Year Since 1967” (Most) and, as suggests, Year Every Of Songs 1967” Since suggests, Excellent Marcus Sara (Most) as and, why they do not adjust to the style guidelines. style the to not do adjust they why is That lyrics. original the in as same the is arrangement their work and this in included are song of each extracts more relevant the just Also, span. chronological the clear make to and song of each recording, (Band, references following the using Iam (plyrics.com). lyrics music punk to related website internet an or from (letigreworld.com) websites official their from either taken are some -as citation (leti feminists and artists as strength the to people celebrate band the the give go this to blog, Hanna’s on a song write it like their was admits dream itself band the As art. in “Hot Topic,” figures powerful and inspirational mentions several Hanna music. Yet, like song the women’s in domains from some absence artistic historical of aresult role fewer women as models community. that find may that It true is of role about lack the some of mentors make that help create that or antecedents sisterhood. world isolated their areal of making adolescents, idol and inspiration of the some American she became as representative command, and symbolic social and Hanna’s cultural within own girl’ ‘rebel this to strengthen opportunity the providing characterization, unconstrained of implications the literary the for interpretation. possibilities opens the It amplifies movements song authentic the person in revolution. evoke an of third the use The ‘queen’, new to follow this girls side encourage political hips and whose speeches to her girls to attract uses Hanna that style and manners revolutionary The girls. role hood apotential who from the is model for agirl American songThe portrays feminists. between to solidarity considered is acalling song Girl” “Rebel famous the Luecking, Juliana by artist inspired who was by Hanna, written and Jett Joan amovement’s onit its well way to becoming “was song” (110). fight Produced by 2 sisterhood, it not criticism is the new factual and strong relationIn to that Kill, (Bikini [...] girl? you Rebel Will friend my be best and Come girl sister, Rebel Soul always asister you like Love [...] yeah friend myShe best is she’s say They but adyke Iknow for you she is I gotnews she’s neighborhood of queen the the thinks girl That [...] of queen my world the you are girl Rebel [...] girl Rebel girl Rebel about anthem its most recognized became what released 1993 In Kill Bikini year) to distinguish between Bikini Kill and and to make available the sources sources the available make to and Tigre Le and Kill Bikini between distinguish to year)

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Rolling Stone list “Most list sound - turning tables, and ‘on the verge’ of changing things. The song asks girls to leave girls song The asks things. ‘on and tables, verge’ of the changing turning now are onmeet ‘outside’, protest. the They ignition and an to start on streets, the to going are girls that her. claims towards Hanna solidarity support and gesture, atruthful with showing, Hanna on and bed lying Grrrl friend) depressed a Riot Grrrl, song “On the of Riot Verge” the the (perhaps a friend depicts hood typical of precedents for generationscommunity to come. a setting were themselves riot grrrls time but same were at the inspiring roles that told. and Without accounted are doubt, to any looked some back riot leading grrrls stories their long continue as to as so be will women and extended, is of uplifting to exemplify, list song the tries this as positive. the Nevertheless, surpassed things negative the showed that women balance The were justexceptional. successful got of they references the decided to up give because agencies their limited and blocked that scene a rock in to who participate wanted some girls young past, the In from scratch. do not generations they so have to it start for future easier to make of it and how to have is role important girls, to models follow, for teenage especially (145) feminism” rock on punk influence “Hot fact, in Topic” and example aclear is generations. for future influential be can or cause sex of their anyone regardless show and that mentions examples them, to set Hanna probablyis that on purpose it support, and groups also feminist many that to causes linked men are these all Tipton. (transgender) Billy musician mentioning It jazz that worth American is and Wojnarowicz David photographer, activist, artist and painter AIDS Baldwin, James activist right civil novelist and men: to note American of presence the three resting long is it yet inte list is the activists... mentionedare artists, too. Performers, visual King Jean player Muldowney or Billie auto Shirley tennis racer American Rama, Carol painter Italian Spivak. Stein or Gayatri Gertrude Dorothy Allison, Segrest, Mab realm: contributions for literary their the known in mainly are other hand, the Nina Dickens, Simone on Others, or Jett. Hazel Joan bassits and singer bluegrass YorkNew , band Hanna’s based from Sleater-Keaney friends or American and Japanese Gretchen of Butchies, Phillips, the world, it case the is as musical the below belong to of names visible. the them Many making are they time same at the and works of their awareness attempt men, women to raise an a few in and popular (some) and famous lists not so Hanna seconds 44 and 3minutes Within girls. future for would uplifting be legacy their as to continue for working, equality) search the people women the involved these (and in all asking greworld). mainly is Hanna Close to those lines and following with the sense of community and sister and of community sense the with following and lines Close to those ablueprint ways many of aesthetic “in song as the defines Corrigan Suzy Tigre, (Le Oh no, Myles/ no, no don’t Eileen Yayoi Tipton, Doucet, Billy Julie stop Kusama, Gerard, Creme Davis/Alice Vaginal Need, The Schrag, Ariel Dougherty, Cecelia Lueking/ Juliana Irish, Bridget Bond, Walker, Justin Wakem/Kara Krystal X, Mia Jett, Joan Franklin, Aretha Dimassa, Baldwin/Diane Opie, James Cathy Export, Stop, don’t you stop/ Ican’t you stop/Don’t if live you stop/[...]/Urvashi Valie vaid, say, anyway/ I’m but/Don’t old, that’s they’ll listening a damn what give getting Schneemann/You’re Carolee Ono and Antin/Yoko Eleanor [...] and Rama Carol Le Tigre, Tigre, Le 1999) - -

REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 111 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 112 the only project that matter is the one where girls are vindicating their rights. their vindicating one the are is where only matter project girls the that as suspended be will everything indeed developed and be no will morethat plans motion on states to and end goes oppressiona mandatory inequality. Hanna and for continuation was for others another just whereas of waves somewhich the was “obligation” and factor, movement, a“casual” probablyas feminist to the referring both defined they what proper the in mood to start are motivated, they are girls Now act. these and to unable react where and and women “stuck” have been feelings failure with Here opposed “outside” room, filled to is is the the space which afree as to “outside” go approach. amore and amore vindictive attitude with motivational a desire revolt. expresses their singer The outside the in meet to start and stronger to grow as so girls the for bond commitment awider and between sincerely asks and confinement. and attitudes from patriarchal them free will expression that artistic arevolution together on based all start and to join riot the grrrls or cameras, video mic wipes, with filled bags to grab them encourages and behind or fears sadness cations of the different waves of feminism: women’s of waves feminism: of different the cations and for need asolid community The claims analyzed in these four songs are bound to one of the main vindi bound to one are songs four of main the these in analyzed claims The Kill, (Bikini [...] again face your see you, see Iwanna We’re place atthis meeting [...] for you outside. wait plans future your all suspending circumstance or obligation-fictitious casual amotivation- informs That [...] it you to want up to what adds behavior outTime for good year all of doom full and stranded-like so room your inside stuck Been Don’t outside go you wanna [...] outside Wanna go openly Hanna Start” “False in for change, asisterhood and appeal that Along Tigre, (Le ignition the out, now start keys your get self-supervision, “X”-out all ahammer and atypewriter, some hand-wipes, amic, Maybe camera avideo and chords, three some clothes, Grab now right the up in wind To and past the hijack show you how and in come I’ll you’re mattress on your When shipwrecked [...] We’re of verge on the ignition the out, now start keys your get self-supervision, “X”-out all you outside on meet the I’ll now and packed bags your get So

This Island, This Reject All American, American, All Reject

2004)

1996)

- on them. Hanna affirms that she will be with her friend at all times and together will will together and times her at friend all with be she will that affirms on Hanna them. doubts cast always will they for and it women not time is right that the to try argue some says, may of day, the Hanna time the dark.” itmatter As “after if no is matter her, contact she can no qualities artistic and to end put to agirl’swants an dreams someone case in that she says verses music following the industry. the in In new be may that agirl emotion addressing and and blending message lyrics, the in sincere and harsh being tone attitude, and acertain with from experience, to talk seems Hanna metaphor aterritorial of autonomy. dispute and again front the place: row becomes of aconcert take of will freedom performance that how describes that language the song as the in used once location is again Spatial of for microphone. beauty) the (and reject standards brush thus the to relinquish attention them compels their and women, calls addresses women men. Hanna and for stereotypes reinforce that standards beauty with element an associated as read be can Abrush assumptions. on patriarchal adialogue to structure a‘brush’ as such symbols song The uses expectations. of patriarchal examples illustrative with movements of 1990s. the one artistic rooms and of most concert important the the front the to occupy of started and move Girls forward equals. music the as scene in presence notwho their boys did the a way upset accept in and challenged and theirs also was that aspace reclaimed By girls its use, examples. previous the in argued Ihave that demand spatial of that echoes “girls front” to forward the slogan brings held Grrrl movement. spirit the expression that of Riot the dence of famous The the transcen and meaning the discusses explores and Tigre, her projectin latter Le how Hanna, to enjoy. wanted they it fromthat a significant scene sense, is this In felt women alienated also spaces, before. these In I have used that figure stands” roles where for “coat passive women the places sometimes as such were performed, Venue punk. in agency for rooms were and recognition search of their festation for women’s targets venues were rooms, mani also or as more such spatial general of revolution girls’ restriction. the kind from any publicly freely and join and step next the women to take encouraging conventions and limitations and patriarchal the challenging is Hanna this, private the sphere.occupy Emphasizing by women, supposed investigated to condemned who be and to are known hardly choice The of “outside”accounted. public a field the is long space as as relevant is and safe where (the free, be women space a domain street) as should also claims Hanna vindications, represented. Yet, feminist still are by honest forthright and inequalities and territories where and power structures male-ruled in agency claim where women places as reference street to the make songs these to argue, have tried I as Also, lives. of their aspect any in command on spatial a unique sisterhood based The chant evokes again sisterhood, solidarity and sorority between girls. girls. sorority between and sisterhood, solidarity again evokes chant The Tigre, (Le [...] forever game this change we could Maybe amic becomes [...] brush your front when row later the in be Iwill song “After the is dark.” Firstly, of this example itAn provides audience the concert like however other locations, specific streets, from the apart And This Island, Island, This 2004) - -

REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 113 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 114 ggling, some In women defeat. outcomes the to amount consider aridiculous that ggling, stru and activism the all after that Years hints of Ridicule) (Fifty “FYR” title The unchanged. remain some things feminism, third-wave the in encompassed motifs and ideals of certain fulfilment women which musical in were involved this in fight the all after that criticizes it also time, but, same at the Grrrl slogan Riot same reverted. order was of aconcert spatial the within situation of the women that to vindicate, were trying they what was that stage: the up in celebration on and bands recognition the ignited stage to close the reaching and forward moving girls of presence the those that states Hanna song, the In well. as enjoy could front to to go the performances they so girls the to ask ment started Grrrl move Riot from the emerging some bands after changed that Fortunately, all to participate. girls to mosh, discouraging start of room then the and frontthe part all occupy that boys reference to those Theme,” makes clearly which for example, concerts. in shouted they “girls front” to the the that before Ireferred mind: and to in which mantra famous bore same the girls the by gender All or sex. should not musicin that affected be movement born from the was for fought that aplace of girls community The shared. Grrrl Riot to the belonging girls the support that unconditional the emulates and deserve. they success the with interferes that line the to going cross are they that development. She resolutely artistic block their states that limitations the all fight song. Taking as a backbone the specific story of a woman who travels alone in the the alone in who of travels awoman story specific the abackbone song. as Taking this in illustrated well very are freedom and topics The of safety safe. happy and free, feel wonder will women one voices how if they day these still Hanna lyrics the Included in the same LP, the song “FYR” makes a similar reference to the asimilar LP, same Included the in makes song “FYR” the Tigre, (Le on [...] why we go tour we remember And floor dance the towards walking girls the we see But then there? stand just they then front and to the Push cameras digi the with guys the Yeah you know [...] we can’t on plan something is night Yeah, every abandon you towards to push try still But we’ll shouted thats song do every there’s we can And that no way crowded really club is the when Yeah, weird its “LT in appropriately is slogan Grrrl Tour illustrated Riot to the allusion This song too, present this in of protection sisterhood sense The and really is (Le Tigre, I’m notgonnagive upeasy, we were madetocross theline[...] I don’t mindbeingdebatedaslongyou’re withmetonight I don’t wantsomeonetellingmeno-oh-oh“you’re outoftime” I’m you, baby Ifound glad just [...] we’re say might crazy both They This Island, Feminist Sweepstakes Feminist 2004)

, 2001) ,

- - they could exchange ideas and creatively express themselves. Indeed, if one thing one if Indeed, thing themselves. express creatively and ideas exchange could they Wolfe looked where for or Allison Molly aspace Neuman Hanna, Kathleen like artists disfranchised feeling and alienated Being acquiring. music was punk that direction sexist the 1990s attempt the to defy an forged during in girls punk that aband. in awoman be to is what redefined that Hanna like for girls of opportunity aland became lyrics Grrrl offered, Riot the that chances creative emphatic. new Due to the really lyrics the make what (and expressions, aggressive) direct employs and cut-edged lines singer The device. ofrepetitions work use formal a the and as patterns formal or of where any punctuation lack texts of musical Her areevaluation work means gendered music. underground the roles the and in of punk definitions fixed times some the challenged and changed Tigre Le and Kill for Bikini work lyrics the in (and it is) not over. was sadly that afight up to with keep girls encourage and strength song transmit the words spite in the In time. women) pended of at that this, still against abuse (such issues as some significant that of considering defeat afeeling unveils which tone somehow of title, the the pessimistic understand we can sense, this In career. of her aware own already her she statements was and she not did if to need justify as Tigre, Hanna’s in Le in attitude content achange but of songs, also the is there the story. common points between in along are pursued there musical had Thus, 21 the in playing started Tigre Le whole of power spirit the whereas the and and of band, songs the part movement- revolution Grrrl- which were in reaction of Riot certain and the that music. to through elaborate women these were trying that have mentioned ideology one before, elements feminist becomes the of key in the I as deprived This, freedom. of and their women harassed which situation in are anormal event with unusual it possible which is in to this compare discourse musical a YorkNew her, articulates subway without Hanna or anyone harassing bothering The Riot Grrrl movement output Riot The the of community was strong asolid and Hanna’s style, narrative and linguistic To direct informal up, an sum with a and period to belongs acertain Kill It mentioned be must Bikini that Tigre, (Le her bother would nobody And up Bronx to way 241st the the in Street All Avenue Lots atNew line of the From beginning the York New in subway the to ride City She used that did who afriend I had [...] that like aplace in happy be we could I wonder whether [...] It’s down us to bring dumb too phenomenon this name Let’s front desk to the report Please [...] you we’re calling Feminists

Feminist Sweepstakes Feminist st century, a time when the Riot Grrrl was gone and Hanna gone Hanna and Grrrl was Riot when century, the atime

, 2001) ,

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REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 115 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 116 patriarchal attitudes or stereotyped standards, informs of inspirational figures for figures of inspirational informs standards, or stereotyped attitudes patriarchal to invites reject a solid tool are that lyrics FCDA The that politics. and evidences discourses feminist with intertwine way lyrics the reformulating is so, artist the women’s affect condition directly by doing and, that sisterhood, matters and spaces safe to address lyrics the uses favor in of equality. Hanna characteristics its powerful transform and to re-appropriate ways to prove are there was discourse that analysis society. produced in by and My intention this discourses with are convey meaning, products that literary as Lyrics, of study tolyrics. debates the new and original appropriate Ifind context to present bring may FCDA approachthis it that an is as In were written. they which in context the in works their to reevaluate and culture involved music women’s to in unveil is feminists undeniable contribution to punk of objectives some One of main the for future. the abasis as serves that a tradition for women, of apositive influence source music as emerges Besides, challenges. social respond and to to socialize but ‘truths’ also universal rewrite and not only to revise means apowerful becomes from reproducing power structures, music, apart Thus, asolid foundation. find could were creating they where sisterhood that and the freely themselves express cipation could were forwhere need it, in in a space they girls music consumption women’s of and punk production the also and affect parti that achievements. representations to conduct of women their territories that reclaimed artistic as read now be can wrote down some girls of that these lyrics the and participate could girl where space any Grrrl movement afeminist Riot the Indeed, became assessed. and have confronted feminists that some discourses echoes overcoming implies territorial this metaphor the that asense, music. In in equality achievement: towards astep amore important also meant spaces conquering The of these involved feminism. in of women struggles and vindications the reflect they because significant are tions examina territorial these time, description same of the At context. mere functional a as just used sometimes rooms are concert and to street references tioned. These were sphere posi underground her the bands which in within spaces for feminist asks openly Hanna which in we examples come Tigre across Le and Kill of Bikini lyrics conditions. the In feminine their express safely whereof and to aspace freely punk. as such some genres way women’s the changed considered in was presence drastically and overseas and “the queen” became worlds girls’ America of riot in the many grrrls song claims, Girl” “Rebel the show from. As Grrrl could off Riot the commitment which and (Monem 7). moment, Until that strength movements the few achieved or scenes Europe and over America North bars and classrooms up from bedrooms, came were involved. Team help of and amovement were grounds spirit, the respect that music) expression (e.g. girls which in clothing, zines, of artistic kind any filled that atmosphere representativeis of movement admirable the and respectable the is (and Grrrl movement more involved Riot Hanna), those precisely the have in like helps women women’s of in that platform punk, case the In acultural becomes fight. for women’s asks finally, and, involvementwomen sorority. artists and Music thus Taking into account the socially constructed implications based on gender based implications constructed socially intoTaking the account need in was created girls these sisterhood that of and bonding feeling That - - - broke new ground. Theirs is a story worth telling. worth astory is broke Theirs ground. new and rules, own atemplate, set their created broketo taboos, follow some standards, Grrrl movementconclusion, who of of Riot refused those the story story the the is do not In girls so have to reinvent of be sum, relevance strong once wheel again. the in and, women’sto expose undoubtedly influence and agency potential stories, their where aplatform as serve may into oblivion lyrics stories should notTheir and fall of music. history to the light subversive brought adifferent, butclearly clarifying Enviado : 31 de mayo de 2020; : 31 2020; de mayo de aceptado : 28 de septiembre de 2020 de septiembre de : 28

REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 117 REVISTA CLEPSYDRA, 20; 2021, PP. 99-119 118 Hiroshi Garrett Hanna Hanna Hanna Hamilton Garrigos Frith Ewens Downes Ditto Corrigan Chidgey Carson Kill Bikini Kill Bikini Barton Attali Alconada Alonso Holmes , Simon. , Simon. , Beth. “Foreword,” in , Beth. , Hannah. “Riot Grrrl Pioneers Bikini Kill: ‘We’re It’s Back. Intense’.” Kill: Bikini Pioneers Grrrl “Riot , Hannah. , Jacques. , Jacques. , Kathleen. “My Herstory.” ( , Kathleen. , Kathleen. “Herstory Repeats.” Old Dominion University Norfolk, VA: Guest Lecture, 2011 Lecture, VA: Guest Norfolk, University Old Dominion Repeats.” “Herstory , Kathleen. , Kathleen. “Gen X Survivor: From Riot Grrrl Rock Star to Feminist Artist,” in in Artist,” Feminist to Star Rock Grrrl From Riot XSurvivor: “Gen , Kathleen. , Laura. “Grrrl power.” “Grrrl , Laura. , Mina, , Mina, , Janet and and , Janet , Julia. “Riot Grrrl: The Legacy and Contemporary Landscape of DIY Feminist Cultural Cultural Feminist of DIY Landscape Contemporary and Legacy The Grrrl: “Riot , Julia. , Red. “Riot Grrrl Writing,” in Writing,” in Grrrl “Riot , Red. tury Publishing, 2003. Publishing, html ( pp. 131-137. 2003, Press, Square Washington (ed.),Robin Sussex 2019. ediciones, 66rpm Barcelona: its-intense ( 2019 2007, pp. 12-52. Publishing, Dog in Activism,” 2007, pp. 8-9. Publishing, Dog Black pp. 145-168. (ed.),Nadine 2007, pp. 100-145. Publishing, Dog Black : 2004. of Kentucky, Press University Kentucky: tyle/2009/mar/04/grrrl-power-music 1985. Point.” in Case https://www.youtube.com/watch?v=NcmIjU2dR-E , Cristina, , Suzy. “Art, Politics and How One Grrrl Joined the Feminist Timeline,” in in Timeline,” Feminist the Joined How One Grrrl and Politics , Suzy. “Art, , Heidi E. and and E. , Heidi . Reject All American. , 1996. CD. Stars, Rock Kill American. All . Reject 1993. CD. Stars, Rock Kill Yeah. Yeah Yeah . Yeah . Berkeley: UC Press, 2008. ). Taking Popular Music Seriously: Selected Essays Selected Seriously: Music Taking Popular : https://www.theguardian.com/music/2019/jun/09/bikini-kill-riot-grrrl-were-back- Lewis Noise: The Political Economy of Music of Economy Political The Noise: Wiley Blackwell, 2015, Blackwell, pp. 466-485. Wiley , Charles. , Charles. Meyerhoff ). , Soraya and and , Soraya

Triana Sisterhood Is Forever. The Women’s Anthology for a New Millenium. Millenium. aNew for Women’s The Anthology Is Forever. Sisterhood Tisa and and Tisa Riot Grrrl. Revolution Girl Style Now!, Now!, Style Girl Revolution Grrrl. Riot Monem Lectora, Lectora, Schiffrin Monem , Nuria and and , Nuria Struggling to Define a Nation: American Music and the Twentieth Cen Twentieth the and Music American a Nation: Define to Struggling The Guardian, , Nadine (ed.),, Nadine , Miriam. , Miriam. Chaparro Sainz Chaparro Shaw 23 (2017),23 pp. 83-98. http://www.letigreworld.com/sweepstakes/html_site/fact/khfacts. , Nadine (ed.),, Nadine REFERENCES , Deborah (eds.). , Deborah , Susan M. M. , Susan Monem Guerra The Handbook of Language and Gender. Gender. and Language of Handbook The March, 2009 ( 2009 March, Riot Grrrl. Revolution Girl Style Now!, Now!, Style Girl Revolution Grrrl. Riot ). , Nadine (ed.),, Nadine , Paula. , Paula. , Ángel. “Punk Pioneers: Chicana as a as Bag Alice Chicana Pioneers: “Punk , Ángel. Girls Rock! Girls Riot Grrrl. Revolution Girl Style Now!, Now!, Style Girl Revolution Grrrl. Riot . Minessota: University of Minnesota Press, Press, of Minnesota University . Minessota: The Handbook of Discourse Analysis, Analysis, Discourse of Handbook The God Save the Queens: Pioneras del Punk. Punk. del Pioneras Queens: the Save God https://www.theguardian.com/lifeands . London: Black Dog Publishing, 2007, Publishing, Dog Black London:

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