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. 2 Figure 1: The Julie Ruin with Kathleen Hanna (center) performing “Oh Come On.” The Julie Ruin. “Oh Come On.” YouTube. 5 August 2013. Web. 24 October 2014. <http://www.youtube.com/watch?v=hEltsPb8M6Q>. The same year, the Fales Library in NYC opened its “Riot Grrrl Collection,” a comprehensive collection of fanzines, videos, images, and music clips from the movement’s heyday. In 2012, director Sini Anderson released the documentary The Punk Singer that focuses on Hanna. In 2013, editor Lisa Darms published a compilation of the Fales Library’s collection of fanzines, articles, and flyers. While Hanna was appreciative of the way her return to the spotlight and the legacies of the Riot Grrrls was received3, she was at the same time aware that the rejuvenated interest also had an air of musealization and historicization about it, a fate that the once rebellious rock ’n’ roll in general and punk as its subcultural figuration have suffered by now.4 In an interview with Sonic Youth 2 See for example the contributions by Tom Breihan and Rachel Smith. 3 In an interview with online music magazine Pitchfork, Hanna states, “The ‘90s are back and people are rediscovering Riot Grrrl for the first time. In terms of our band, I feel that we’re being much more appreciated right now in 2013 than in 1994” (“+1” Pitchfork.tv). 4 For the relationship between rock and museums, see Reynolds (2011). 175 Multilingual Discourses Vol. 2.1-2. (Summer 2015) bass-player Kim Gordon, Hanna deemed it “totally bizarre” to be historicized at age 44 and to be solely associated with the 1990s (Gordon). When The Julie Ruin’s debut album Run Fast was released in September 2013, one month after the premiere of “Oh Come On,” mainstream media attention shifted towards another video. More than one million people gathered in front of their TV sets, monitors, and displays to watch Miley Cyrus’ “Wrecking Ball” (see fig. 2) which, in stark contrast to The Julie Ruin’s low-key DIY- aesthetics, had a visual style more reminiscent of glossy fashion and lifestyle magazines like Vogue or Cosmopolitan. Comprised of shots of a lightly clad Miley Cyrus swinging on the eponymous wrecking ball through a stylized video set, the video provoked a significant, if short-lived, media scandal. Figure 2: Screenshot from Miley Cyrus’ “Wrecking Ball.” Cyrus, Miley. “Wrecking Ball.” YouTube. 9 September 2013. Web. 24 October 2014. <http://www.youtube.com/watch?v=My2FRPA3Gf8>. Lars Richter 176 Watching these very distinct videos within such a short time appeared to be an accelerated version of the development from “Revolution Girl Style Now”5 embodied by the Riot Grrrls to the defused and commodified a la Spice Girls “Girl Power” that audiences had witnessed in the 1990s. Arguably the most interesting aspect of the media debate triggered by the release of Cyrus’ video was the creation of a field of discursive tension in which the notion of what feminism and, in extension, feminist art means in the twenty-first century was negotiated. Among others, this field of tension was populated by artists like Cyrus herself and Irish singer Sinéad O’Connor who expressed opposing views on the figuration of feminist art, especially with regards to the use of eroticized imagery. Using the different aesthetics of The Julie Ruin’s and Cyrus’ video as a starting point, I will explore how the almost simultaneous debate surrounding Cyrus’ video, the return of Kathleen Hanna, and the concomitant rediscovery of the Riot Grrrl-movement created a point of convergence of two generations of feminist artists that revealed tensions steeped in feminist history while, at the same time, suggesting possible futures for feminist artistic expression. To problematize the use of eroticized imagery in Cyrus’s music video I will turn to Laurent Berlant’s helpful notion of cruel optimism to illustrate why and how said imagery as a means of empowerment is not always successful. In a second step, I will revisit the legacies of the Riot Grrrl movement to explore how it has influenced not only contemporary feminist musicians but feminist political protest as well. Lastly, I will explore how the return of Kathleen Hanna, 5 “Revolution Girl Style Now!” was the title of Bikini Kill’s first release in 1991. 177 Multilingual Discourses Vol. 2.1-2. (Summer 2015) the emergence of new feminist artists as well as new collaborations can open up potential futures for feminist artistic expression. “Wrecking Ball” and the Cruel Optimism of Empowerment The video for “Wrecking Ball” was released on September 9, 2013. It was declared the most popular video of 2013 by the music website Vevo which hosts the clip (news.com.au) and by April 2015, more than 760 million viewers had seen the video. As mentioned above, in contrast to the low-key approach The Julie Ruin had chosen, the video’s Figure 3: Screenshot from Miley Cyrus’ “Wrecking Ball.” Cyrus, Miley. “Wrecking Ball.” YouTube. 9 September 2013. Web. 24 October 2014. <http://www.youtube.com/watch?v=My2FRPA3Gf8>. visuals are reminiscent of high resolution fashion magazines, an effect achieved by hiring fashion photographer Terry Richardson as director who transposed the aesthetics of his photographs to the medium of the video clip. Besides those scenes that show Cyrus swinging on a wrecking ball, the clip consists of close- ups of Cyrus’ face in pale make-up except for her bright red lipstick and medium long shots of the singer imitating fellatio with the tip of a sledge hammer (see Lars Richter 178 fig. 3). In addition to overtly alluding to sexual practices, Richardson and Cyrus use more subtle visual markers to charge the shots erotically. The use of contrasting colors and textures as well as reference to established color codes is of special importance in this context. The former is exemplified in the wrecking ball-shots in which Cyrus’ immaculately clean, smooth and naked body is set against the background of a smeared, coarse, and partially wrecked video set resembling a construction site (see figure 2). The friction between visual elements is repeated and heightened by the use of color codes in the fellatio- shots. Richardson sets the pearly white of Cyrus’ fingernails, teeth, and clothes against the bright red lipstick, thus alluding to codes in Western cultures that associate the color red with passion, desire, and sexuality, whereas the color white is associated with purity and innocence. The discord between these connotations — sexuality versus innocence, passion versus purity — not only results in erotically charged images but finds its echo in the media scandal that “Wrecking Ball” created as well. While Cyrus’ video is by no means the only one that portrays the female body near-naked, and arguably not even among the most explicit ones — one recent example of a clip falling into this category would by “Blurred Lines” by Robin Thicke — the fact that Cyrus had risen to fame as a child actor at least in part explains the polarizing effect “Wrecking Ball” had on audiences. From 2006 to 2011, Cyrus had starred in the Walt Disney-produced TV series Hannah Montana in which Cyrus had played a teenage schoolgirl who leads a double-life as a successful singer. In line with the traditionally family-friendly orientation of the Walt Disney Corporation, Cyrus was marketed as an average teenager, 179 Multilingual Discourses Vol. 2.1-2. (Summer 2015) highlighted in figure 4 through her long blond hair and the overt use of the color pink. Towards the end of Hannah Montana’s run, Cyrus had begun to modify her public persona towards a more rebellious and provocative one6, a development that culminated in the look she displayed in “Wrecking Ball.” Figure 4: Miley Cyrus as Hannah Montana. <http://indianexpress.com/article/entertainment/television/miley-said-she-had-to-murder-hannah- montana-dolly-parton/> Parallel to this change in public performance from conformist to provocative, the difference between innocence and sexuality is visualized through the use of red and white in “Wrecking Ball,” and the disparity between Cyrus new, sexually self-confident public persona and the more innocent one that had made her famous added to the media scandal.