Riot Grrrl Manifest

2020 ◽  
pp. 492-494
Author(s):  
Hannah Kathleen ◽  
Bikini Kill
Keyword(s):  
Riot Grrrl

Carole King's Tapestry

2021 ◽  
Author(s):  
Loren Glass
Keyword(s):  
Cultural History ◽  
Music Industry ◽  
Professional Autonomy ◽  
Male Dominance ◽  
Riot Grrrl ◽  
The Third ◽  
Women's Music ◽  
Second Wave Feminism ◽  
Historic Significance ◽  
Second Wave

Carole King’s Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album’s historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King’s generation sought as the turbulent sixties came to a close. Aligning King’s own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwriters, this volume situates Tapestry both within King’s original vision as the third in a trilogy (preceded by Now That Everything’s Been Said and Writer) and as a watershed in musical and cultural history, challenging the male dominance of the music and entertainment industries and laying the groundwork for female dominated genres such as women’s music and Riot Grrrl punk.

Riot grrrls and shredder bros: Punk ethics, social justice and (un)popular popular music at School of Rock

2021 ◽  
Author(s):  
Kayla Rush
Keyword(s):  
United States ◽  
Social Justice ◽  
Popular Music ◽  
Rock Music ◽  
Frame Analysis ◽  
Status Quo ◽  
Music Teaching ◽  
Riot Grrrl ◽  
Cultural Status

This article presents a case study of riot grrrl music in a School of Rock franchise in the Midwestern United States. It presents the school as a place in which gender is bound up in specific notions of what it is to play rock music, notions that directly inform what constitutes popular popular music within this context. The article examines the Riot Grrrl project using frame analysis, presenting and discussing three frames through which riot grrrl was taught: as music, punk ethics and social justice. It examines a case of frame conflict as played out in a disagreement between the programme’s two male instructors. It suggests that multi-frame approaches to popular music teaching, including clashes that may arise from conflicting frames, are effective in disrupting the musical-cultural status quo and in creating spaces in which students may productively and empathetically encounter the unpopular popular music of marginalized musical ‘Others’.

Riot Grrrl

2020 ◽  
pp. 1-2
Author(s):  
Mary Celeste Kearney
Keyword(s):  
Riot Grrrl

scholarly journals Lost in Translation? Pussy Riot Solidarity Activism and the Danger of Perpetuating North/Western Hegemonies

2014 ◽  
Vol 4 (2) ◽  
pp. 145-165
Author(s):  
Katharina Wiedlack ◽  
Masha Neufeld
Keyword(s):  
Religious Language ◽  
Russian Orthodox Church ◽  
Riot Grrrl ◽  
North West ◽  
The North ◽  
Russian Version ◽  
Pussy Riot ◽  
Global North ◽  
Critical Discourses ◽  
North Western

This article critically discusses solidarity actions in support of Pussy Riot within the global North/West, arguing that most solidarity projects within popular culture as well as within the queer-feminist counterculture are based on a lopsided interpretation of Pussy Riot as Russian version of Riot Grrrl feminists. This onedimensional interpretation of the performance art group as Riot Grrrl-identities further leads to labelling their performance at the Christ the Saviour Cathedral as anti-religious. Within this framework the group’s negotiation of Orthodox religion within their song lyrics, performances as well as statements is ignored, supporting the binary construction of The North/West as progressive – tolerant and secular – and Russia as backward – dogmatic and fundamentalist religious. We attempt to complicate the view on Pussy Riot’s performances and reread them within the Russian context, highlighting several political statements that got lost in North/Western translations. The focus of the analysis concentrates on the ‘Punk Prayerr’, its mimicry of religious language and references to the leadership of the Russian Orthodox Church as well as the local public critical discourses.

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