DOCSLIB.ORG

The Punk Scene

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1.FANZINES I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV 2.SONGS “Asking for It” by Hole from the album Live Through This (1994) Every time that I sell myself to you I feel a little bit cheaper than I need to I will tear the petals off of you Rose red, I will make you tell the truth Was she asking for it? Was she asking nice? If she was asking for it Did she ask you twice? Every time that I stare into the sun Angel dust and my dress just comes undone Every time that I stare into the sun Be a model or just look like one Wild eye rot gut do me in Do you think you can make me do it again? Was she asking for it? Was she asking nice? If she was asking for it Did she ask you twice? If you live through this with me I swear that I would die for you And if you live through this with me I swear that I would die for you Was she asking for it? Was she asking nice? If she was asking for it Did she ask you twice? Was she asking for it? Was she asking nice? XXVI If she was asking for it Did she ask you twice? Ah ah ah ah “Rebel Girl” by Bikini Kill from the album Pussy Whipped (1993) That girl thinks she's the queen of the neighborhood She's got the hottest trike in town That girl, she holds her head up so high I think I wanna be her best friend, yeah Rebel girl, rebel girl Rebel girl you are the queen of my world Rebel girl, rebel girl I think I wanna take you home I wanna try on your clothes, uh When she talks, I hear the revolution In her hips, there's revolution When she walks, the revolution's coming In her kiss, I taste the revolution Rebel girl, rebel girl Rebel girl you are the queen of my world Rebel girl, rebel girl I know I wanna take you home I wanna try on your clothes, uh That girl thinks she's the queen of the neighborhood I got news for you, she is! They say she's a dyke, but I know She is my best friend, yeah XXVII Rebel girl, rebel girl Rebel girl you are the queen of my world Rebel girl, rebel girl I know I wanna take you home I wanna try on your clothes Love you like a sister always Soul sister, rebel girl Come and be my best friend Will you, rebel girl? I really like you I really wanna be your best friend Be my rebel girl “Suck My Left One” by Bikini Kill from the album Revolution Girl Style Now! (1991) Suck my left one Sister, sister where did we go wrong? Tell me what the fuck we're doing here Why are all the boys acting strange? We've got to show them we're worse than queer 1, 2, 3, 4 Suck my left one Suck my left one Daddy comes into her room at night He's got more than talking on his mind My sister pulls the covers down She reaches over, flicks on the light She says to him Suck my left one XXVIII Suck my left one Mama says: You have to be a polite girl You have got to be polite Show a little respect for your father Wait untill your father gets home Fine, fine, fine, fine, fine, fine, fine “Suggestion” by Fugazi from the album Fugazi (1988) Why can't I walk down a street free of suggestion? Is my body the only trait in the eye's of men? I've got some skin You want to look in there? Lays no reward in what you discover You spent yourself watching me suffer Suffer your words, suffer your eyes, suffer your hands Suffer your interpretation of what it is to be a man I've got some skin You want to look in? She does nothing to deserve it He only wants to observe it We sit back like they taught us We keep quiet like they taught us He just wants to prove she does nothing to remove it We don't want anyone to mind us So, we play the roles that they assigned us She does nothing to conceal it He touches her 'cause he wants to feel it XXIX We blame her for being there But, we are all guilty “White Girl” by Heavens to Betsy from Calculated (1994) We should have talked about this A long time ago But I didn't have to think about it That's what this song is about White girl I want to change the world But I won't change anything Unless I change my racist self It's a privilege, it's a background It's everything that I own It's thinking I'm the hero of this pretty white song It's thinking I'm the hero of this pretty white world White girl I want to change the world But I won't change anything Unless I change my racist self XXX 3. CORPUS Silence Revolution Grrrl Girl Sister Sisterhood Friend Liar Society Oppressed Violence Action Body Slut Rape Aggression Incest Power Punk Love Harassment Dyke Friend Zine Underground Subculture DYE Independent Indie Alternative Olympia Washington D.C. Body Boy Dork Feminist Secret Convention Rage Community Love Respect Meeting Congregation Suburbia Class Race White Black Asian Intersectionality Respect Freedom Change XXXI.
Recommended publications
  • Alien She Is the Rst Exhibition to Examine the Lasting Impact of Riot Grrrl on Artists and Cultural Producers Working Today

    Alien She Is the Rst Exhibition to Examine the Lasting Impact of Riot Grrrl on Artists and Cultural Producers Working Today

    Alien She is the rst exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large, Riot Grrrl had a pivotal inuence. The movement inspired many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reect their values and experiences. This exhibition focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. In various ways, they have incorporated, expanded upon, or reacted to Riot Grrrl’s ideology, tactics and aesthetics. Many of them work in multiple disciplines, such as visual art, music, documentary lm, new media, curation, writing and performance – a reection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories. Alien She’s historical section is designed to be plural and open-ended; this is a living history, not a sealed past. By representing numerous voices and experiences, rather than outlining one single denitive story, we hope it will reect the multiplicity that was such an integral part of the original movement.
  • The Problematic Westernization of Pussy Riot

    The Problematic Westernization of Pussy Riot

    Macalester College DigitalCommons@Macalester College Gateway Prize for Excellent Writing Academic Programs and Advising 2020 The Riot Continues: The Problematic Westernization of Pussy Riot Adam Clark Macalester College Follow this and additional works at: https://digitalcommons.macalester.edu/studentawards Part of the Music Commons Recommended Citation Clark, Adam, "The Riot Continues: The Problematic Westernization of Pussy Riot" (2020). Gateway Prize for Excellent Writing. 16. https://digitalcommons.macalester.edu/studentawards/16 This Gateway Prize for Excellent Writing is brought to you for free and open access by the Academic Programs and Advising at DigitalCommons@Macalester College. It has been accepted for inclusion in Gateway Prize for Excellent Writing by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Adam Clark Victoria Malawey, Gender & Music The Riot Continues: The Problematic Westernization of Pussy Riot “We’re gonna take over the punk scene for feminists” -Kathleen Hanna Although they share feminist ideals, the Russian art collective Pussy Riot distinguishes themselves from the U.S.-based Riot Grrrl Movement, as exemplified by the band Bikini Kill, because of their location-specific protest work in Moscow. Understanding how Pussy Riot is both similar to and different from Riot Grrrl is important for contextualizing the way we think about diverse, transnational feminisms so that we may develop more inclusive and nuanced ways in conceptualizing these feminisms in the future. While Pussy Riot shares similar ideals championed by Bikini Kill in the Riot Grrrl movement, they have temporal and location-specific activisms and each group has their own ways of protesting injustices against women and achieving their unique goals.
  • Disidentification and Evolution Within Riot Grrrl Feminism Lilly Estenson Scripps College

    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 -------------------------------------------------------------------------------------
  • Shogun's Local Legacy Kathleen Hanna True Widow

    Shogun's Local Legacy Kathleen Hanna True Widow

    Vol. 24 • Issue 297 • September 2013 • slugmag.com • Always Free Shogun’s Local Legacy Kathleen Hanna True Widow slugmag.com 1 2 SaltLakeUnderGround slugmag.com 3 SaltLakeUnderGround • Vol. 24 • Issue #297 • September 2013 • slugmag.com facebook.com/SLUG.Mag @SLUGMag @SLUGMag youtube.com/user/SLUGMagazine Publisher: Eighteen Percent Gray Marketing Manager: Editor: Angela H. Brown Karamea Puriri Managing Editor: Esther Meroño Marketing Team: Ischa B., Sabrina Costello, Editorial Assistant: Alexander Ortega Kristina Sandi, Brooklyn Ottens, Angella Luci- Office Coordinator:Gavin Sheehan sano, Nicole Roccanova, Raffi Shahinian, Vic- Digital Content Coordinator: Cody Kirkland toria Loveless, Zac Freeman, Cassie Anderson, Copy Editing Team: Esther Meroño, Alexan- Cassie Loveless, Shley Kinser, Matt Brunk, Robin der Ortega, Mary E. Duncan, Cody Kirkland, Sessions, Carl Acheson, Chandler Hunt Johnathan Ford, Alex Cragun, Rachel Miller, Ka- Social Media Coordinator: Catie Weimer tie Bald, Liz Phillips, Allison Shephard, Laikwan Waigwa-Stone, Shawn Soward Distribution Manager: Eric Granato Distro: Eric Granato, Tommy Dolph, Tony Cover Designer: Joshua Joye Bassett, Nancy Burkhart, Adam Okeefe, Ryan Lead Designer: Joshua Joye Worwood, John Ford, Matt Pothier, Phil Cannon, Design Team: Eleanor Scholz, BJ Viehl, Lenny Tim Kronenberg, Justin Nelson-Carruth, Xkot Riccardi, Chad Pinckney, Mason Rodrickc Toxsik, Nancy Perkins Ad Designers: Kent Farrington, Sumerset Bivens, Christian Broadbent, Kelli Tompkins, Eric Senior Staff Writers: Mike Brown, Mariah Sapp, Brad Barker, Paden Bischoff, Maggie Mann-Mellus, James Orme, Lance Saunders, Zukowski, Thy Doan, KJ Jackett, Nicholas Dowd, Bryer Wharton, Peter Fryer, James Bennett, Ricky Nick Ketterer Vigil, Gavin Hoffman, Esther Meroño, Rebecca Website Design: Kate Colgan Vernon, Jimmy Martin, Ben Trentelman, Princess Office Interns: Carl Acheson, Robin Sessions, Kennedy, Sean Zimmerman-Wall, Cody Hudson, Alex Cragun, Chandler Hunt Shawn Mayer, Dean O.
  • Stock DECEMBER 2020

    Stock DECEMBER 2020

    DISTRO / 2020 DISQUE LP CODE STOCK CHF !Attention! - S/T INLP 859 1 12 562 – Cuando vivir es morir INLP 524 2 14 7 seconds – Leave a light on INLP 780 X 25 7 seconds – The crew INLP 599 x 18 7 seconds – Walk together, rock together INLP 107 1 16 A wilhelm scream – S/T INLP 493 1 17 Accidente – Amistad Y Rebelión INLP 918 1 10 Accidente – Pulso INLP 278 2 13 Accidente – S/t INLP 230 2 10 Adhesive – Sideburner INLP 879 1 18 Adolescents – OC Confidential INLP 622 2 12 Adolescents – S/T INLP 006 1 22 Adult Magic – S/T INLP 133 2 14 Against me! - As the eternal cowboy INLP 748 X 21 Against me! - Is reinventing Axl Rose INLP 228 1 21 Against me! - Searching for a former clarity 2LP INLP 752 1 28 Against me! - Shape Shift With Me INLP 342 1 32 Against me! - Transgender dysphoria blues INLP 751 3 27 Agent Attitude – First 2 Eps INLP 614 1 12 Agnostic front – Another voice INLP 668 1 17 Agnostic front – Live At CBGB INLP 543 x 19 Agnostic front – Victim in pain INLP 010 1 17 Alea Jacta Est – Dies Irae INLP 606 4 16 Alea Jacta Est – Gloria Victis INLP 357 2 10 Alea Jacta Est – Vae Victis INLP 776 1 15 Alkaline trio – Maybe i'll cacth fire INLP 222 x 18 Alkaline trio – My shame is true INLP 626 X 26 Alkaline trio – This addiction INLP 373 x 22 All – Allroy for prez INLP 240 1 20 All – Allroy Saves INLP 939 1 22 All – Allroys revenge INLP 238 X 27 All – Breaking things INLP 319 1 28 All – Pummel INLP 651 2 28 All out War – Dying Gods INLP 338 X 18 All Pigs Must Die – Hostage Animal INLP 698 1 21 All pigs must die – Nothing violates this nature INLP 701 1 22 All pigs must die – s/t INLP 015 1 22 Altair – Nuestro Enemigo INLP 294 2 12 American Football - S/T LP3 INLP 1010 2 28 UK 20 American football – s/t INLP 018 X 24 American Football – S/T (EP) INLP 762 x 16 American Football – S/T LP2 INLP 731 X 25 And So Your Life Is Ruined – s/t INLP 938 1 12 Page 1 DISTRO / 2020 And yo your life is ruined – s/t INLP 835 1 13 Angel Du$t - Pretty Buff INLP 1011 1 28 Angel Dust – A.D.
  • Riot Dyke: Music, Identity, and Community in Lesbian Film

    Riot Dyke: Music, Identity, and Community in Lesbian Film

    i Riot Dyke: Music, Identity, and Community in Lesbian Film by Alana Kornelsen A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, ON © 2016 Alana Kornelsen ii Abstract This thesis examines the use of diegetic pre-composed music in three American lesbian feature films. Numerous trends can be noted in the selection of music in lesbian film broadly— music is often selected to draw on insider knowledge of the target audience of these films, creating cachet. This cachet comes with accompanying “affiliating identifications” (Kassabian 2001) that allow music to be used in the films’ construction of characters’ identities. This is evident in the treatment of music in many lesbian films: characters frequently listen to, discuss, and perform music. This thesis focuses specifically on riot grrrl music and the closely linked genre of queercore (which together Halberstam ([2003] 2008) refers to as “riot dyke”) in three films that focus on the lives of young women: The Incredibly True Adventure of Two Girls in Love (dir. Maria Maggenti, 1995), All Over Me (dir. Alex Sichel, 1997), and Itty Bitty Titty Committee (dir. Jamie Babbit, 2007). By examining how diegetic riot dyke music is used in these three films to build characters’ identities and contribute to the films’ narratives I argue that in these films, riot dyke music is presented as being central to certain queer identities and communities, and that this music (as well as the community that often accompanies it) is portrayed as instigating or providing opportunities for characters’ personal growth and affirming characters’ identities in adverse environments.
  • A Longitudinal Content Analysis of Feminist Themes in Punk Rock

    A Longitudinal Content Analysis of Feminist Themes in Punk Rock

    ACT LIKE A PUNK, SING LIKE A FEMINIST: A LONGITUDINAL CONTENT ANALYSIS OF FEMINIST THEMES IN PUNK ROCK SONG LYRICS, 1970-2009 Lauren E. Levine Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Koji Fuse, Major Professor Tracy Everbach, Committee Member Gwen Nisbett, Committee Member Cory Armstrong, Chair of the Frank W. and Sue Mayborn School of Journalism Dorothy Bland, Dean of the Frank W. and Sue Mayborn School of Journalism Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Levine, Lauren. E. Act Like a Punk, Sing Like a Feminist: A Longitudinal Content Analysis of Feminist Themes in Punk Rock Song Lyrics, 1970-2009. Master of Arts (Journalism), May 2015, 104 pp., 6 tables, references, 123 titles. Punk rock music has long been labeled sexist as copious media-generated accounts and reports of the genre concentrate on male artists, hyper-masculine performances, and lyrics considered to be aggressive, sexist, and misogynist. However, scholars have rarely examined punk rock music longitudinally, focusing heavily on 1980s and 1990s manifestations of the genre. Furthermore, few systematic content analyses of feminist themes in punk rock song lyrics have been conducted. The present research is a longitudinal content analysis of lyrics of 600 punk rock songs released for four decades between 1970 and 2009 to examine the prevalence of and longitudinal shifts in antiestablishment themes, the prevalence of and longitudinal shifts in sexist themes relative to feminist themes, the prevalence of and longitudinal shifts in specific feminist branches, and what factors are related to feminism. Using top-rated albums retrieved from Sputnik Music’s “Best Punk Albums” charts, systematic random sampling was applied to select 50 songs for each combination of three gender types and four decades.
  • Packet 4.Pdf

    Packet 4.Pdf

    VICO: Very Intense Conceptual Open/The New SCIENCE Brought to you by Will Holub-Moorman and Jacob Reed Packet 4 1. Emanuel Lasker famously played this opening to defeat a surprised José Raul Capablanca during a 1914 tournament in St. Petersburg. This was the most common opening used by Magnus Carlsen to defend the 2014 World Chess Championship against Viswanathan Anand, who met it each time by playing a variation in which Black plays Nf6 ("knight-f-six") on the third move. A different defense against this opening involves fianchettoing the Black bishop to b7 after the White bishop retreats to b3, and was developed by theoreticians in the Russian city of Arkhangelsk. This variation of the open game is most commonly defended against with a move named for Paul Morphy, in which Black attacks the White bishop by pushing a pawn to (*) a6, usually forcing White to either capture Black’s knight on c3 or retreat to a4. For 10 points, name this extremely common chess opening, characterized by the sequence e4-e5, Nf3-Nc6 ("knight-f- three, knight-c-6"), Bb5 ("bishop-b-five"), which is named for a Spanish priest. ANSWER: the Ruy Lopez [accept the Spanish Game or the Spanish Opening; also accept the Berlin Defence and the Arkhangelsk or Archangel Defence, as well as Ruy Lopez, exchange variation; prompt on more general answers such as "e4," "e4-e5," or the "open game"] <WHM> 2. The Protagoras ends with an argument over the views of two of these people on the concept of virtue. These people's engagement with the gods is attacked at the end of Book II of the Republic.

  • 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 .....................................................................................................................
  • The History of Rock Music - the Nineties

    The History of Rock Music - the Nineties

    The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock, trip-hop History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Foxcore (These are excerpts from my book "A History of Rock and Dance Music") The riot-grrrrls of Seattle, 1991-94 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Hardcore punk-rock had been mostly a male phenomenon. Girls were excluded from hardcore the same way they were excluded in society from many other male-only rituals, whether street gangs or USA football. The "riot grrrrls" movement of the 1990s changed the sociopolitical landscape of punk-rock by introducing the "girl factor" into the equation of frustration/ depression/ desperation/ anger. The riot-grrrrls movement originated largely in and around Seattle (Olympia, to be precise), and indeed it was Seattle that boasted the most fertile scene for female-only bands. The movement's manifesto was the article "Women, sex and rock and roll", published by "Puncture" in 1989. The first radio program to address the angry young girls was "Your Dream Girl", conducted by Lois Maffeo on Olympia's KAOS. One of the earliest riot-grrrrls was Molly Neuman, who joined Allison Wolfe to create the fanzine "Girl Germs", one of the main alternative media for college girls. In the summer of 1991 they celebrated themselves at the Olympia campus, shouting their slogan "Revolution Girl Style Now!" The mood had been changing throughout the 1980s: the magazine "Sassy" had been founded already in 1987 as an alternative, not afraid to tackle brutal themes, to the conventional magazines for teenage girls.
  • The Rhetoric of Riot Grrrl

    The Rhetoric of Riot Grrrl

    “We’re the Girls With the Bad Reputations”: The Rhetoric of Riot Grrrl A thesis presented to the faculty of the Graduate School of Western Carolina University in partial fulfillment of the requirements for the degree of Master of Arts in English. By Brittany Tyson Garrett Director: Dr. Beth Huber Assistant Professor of English English Department Committee Members: Dr. Marsha Lee Baker, English Dr. Laura Wright, English November 2011 ACKNOWLEDGMENTS First, I would like to thank my committee. I am forever indebted to you for the wonderful guidance you provided me. Thank you for the criticism that made me stronger, the words of encouragement that kept me breathing, and the laughs that made this a bearable process. It has been a long journey, but one worth making. In particular, I would like to thank my director, Beth Huber. Stumbling into your class nearly two years ago was one of the best decisions I ever made. Thank you for opening my eyes, convincing me to join the “dark side,” and believing in me. You changed my life. Thank you, Marsha Lee Baker, for calming my panic attacks and making me smile. You challenged me and provided kind words when I needed them, and for that I am eternally grateful. And to Laura Wright, a fellow riot grrrl: I am honored to have worked with you and hope to again some day. You are truly an inspiration. Second, I would like to thank my friends and family, without which I would not have made it this far. Emily Darnell, thank you for being my “support group” and listening to my panicked ramblings at all hours of the day.
  • Multilingual Discourses Vol. 2.1-2. (Summer 2015) 173 Lars Richter

    Multilingual Discourses Vol. 2.1-2. (Summer 2015) 173 Lars Richter

    173 Multilingual Discourses Vol. 2.1-2. (Summer 2015) Lars Richter The Rebel Girl and the Wrecking Ball – The Cruel Optimism of Empowerment and the Revival of Feminism in Contemporary Popular Music n August 2013, NYC based rock band The Julie Ruin released the video for “Oh Come On” as a preview to their first album Run Fast. I It shows the band performing their song against a plain background with a set of Christmas lights shaped to read the name of the band as the most spectacular visual. While sharing the frame with the band, taking front and center stage is The Julie Ruin’s lead singer Kathleen Hanna (see fig. 1). In the early 1990s, Hanna had been a member of punk rock band Bikini Kill, one of the seminal representatives of the Riot Grrrl-movement.1 The release of “Oh Come On” marked the return of Kathleen Hanna after an eight year hiatus from making music due to a serious case of Lyme disease, a potentially lethal bacterial infection (Anderson, The Punk Singer). The video’s release also coincided with a renewed interest in the Riot Grrrl-movement that, twenty years after the movement’s peak, inspired a rediscovery by audiences. In 2011, Bikini Kill’s first album Pussy Whipped celebrated its twentieth anniversary and 1 Riot Grrrl was a feminist figuration of the punk subculture that first emerged in Olympia, WA and Washington D.C. in the early 1990s. For a history of the Riot Grrrl movement, see Sara Marcus’ Girls to the Front (2010). Lars Richter 174 became subject to considerable media attention.