44 Writings I Need For This Blog

I am in need of some articles and writings for this blog. I will add to this list as I see fit. The ones listed below are ideas for articles and writings and are some writings/articles I need for the blog. By writing the article (or articles), You will be emailed an invite to join this blog and will be able to post up your writing on the blog. Be sure to let others know that you wrote the article (or articles).

ARTICLES AND WRITINGS NEEDED:

1-History of riot grrrl: how, why, where, when, and who started it. (about the music and the movement)
2-History of feminism: how, why, where, when, and who started it.
3-The 3 waves of feminism.
4-The many different types of feminism such as: anarcha-feminism, individual feminism, radical feminism, and all the others.
5-Write about your favorite feminism/riot grrrl website or write a review of your favorite feminism/riot grrrl website. (can be blogs, websites, forums, etc.)
6-Write your own definition of what feminism means to you.
7-What does riot grrrl mean to you? (Write as much or as little as you want.) Describe riot grrrl in your own words.
8-Write about being a riot grrrl in another country. What’s the riot grrrl scene like where you live? Is there a chapter where you live? Any riot grrrl bands where you live? How did you get into riot grrrl? How long have you been into riot grrrl?
9-Write about how you got into riot grrrl. What, how, when, who, and where made you get into riot grrrl?
10-Write about being a riot boy: how, when, who, what, and where did you get into riot grrrl?
11-Write your own riot boy manifesto. (I already have a version on my website.)
12-Write about being a male feminist: how, when, who, what, and where did you get into riot grrrl?
13-Write some feminism questions that you would like answered or start a feminism FAQ (frequently asked questions) of your own and the answers to them.
14-Write some riot grrrl/boy questions that you would like answered or start a riot grrrl FAQ (frequently asked questions) of your own and the answers to them.
15-Write about women’s issues important to you.
16-Write about feminism and what it means to you.
17-Write how you got into feminism and why.
18-Make a list of reasons on why your a feminist. Try to think of 50 or more reasons, if you can. 10-20 reasons will do too.
19-Make a list of reasons on why your a riot grrrl. Try to think of 50 or more reasons, if you can. 10-20 reasons will do too.
20-Write some DIY tips or share yours. Share your own DIY stuff.
21-Write something about being an activist/ or about activism.
22-Write something about zines or your life as a zinester.
23-Write about your ladyfest or a ladyfest you attended.
24-Write about a riot grrrl chapter or your own riot grrrl chapter.
25-Write about being pro-choice, why your pro-choice, or what it means to you.
26-Write something about how riot grrrl and queercore music are connected.
27-Write something about how riot grrrl and grunge music are connected.
28-Write something about how riot grrrl and punk music are connected.
29-Write something about feminism in other countries. What’s feminism like in your country or other countries?
30-Write something about human rights in your country or another country.
31-Write something about equal rights.
32-Write about why is feminism important today.
33-Write your own definition of what a riot boy is to you. Give your own definition of riot boy.
34-Write your own Zine DIY guide.
35-Write how to start a riot grrrl chapter DIY guide.
36-Write your own list of ways to be an activist.
37-Write a review of a zine or your favorite zine.
38-Write about your experience with the Riot Grrrl Online website.
39-Write about the Riot Grrrl Online website or do a review of the website. If you write about the website, write how you found the website, how you got active in the website and why. I’m sure there are more things you can write about the website, as long as your a reader or fan of the website, your input is appreciated.
40-A review of your riot grrrl or feminist website.
41-Write a news story. Write about an issue or topic important to you or an issue/topic you think would be important to others that is happening in the news.
42-Write your own women’s issue story. If you are a survivor (of anything from rape to cancer, etc.), I’d like to hear your story and what you went through.
43-Write how to start a ladyfest.
44-Write how to start your own record label and/or band.

If your interested in writing one of these articles, Feel free to read the “contribute” page and reply to the “contribute” page or email me. If you comment on the “contribute” page or email me, Please specify which article (or articles) you want to write about by letting me know which number or numbers (# or #’s) your interested in writing. If you have your own ideas for writings or whatever, feel free to email me some of yours.

*This is also posted on the “Ideas” page.

Tell Me About Riot Grrrl in Le Tigre’s Words

TELL ME ABOUT RIOT GRRRL!
Taken from Le Tigre’s website at http://www.letigreworld.com
http://www.letigreworld.com/sweepstakes/html_site/fact/fact.html

We are proud that Le Tigre is often considered one trajectory of Riot Grrrl, i.e. we are one art-damaged, deconstructive, performance-art, electronic pop off-shoot of the grassroots punk feminist organizing and cultural production of the nineties! This is not to say that Riot Grrrl does not exist anymore — we still hear of local chapters that are active — but the members of Le Tigre are not personally involved with Riot Grrrl now. (If you are in a Riot Grrrl group or any feminist group and would like us to link to yr website please email us. What is Riot Grrrl? What happened to it? We are asked these questions all the time and they are really difficult to answer. Many individuals, bands, zines, artists and scenes were lumped under this term once the “sexy new” punk feminism gained a little media attention. This gave the false impression that there was a centralized ideology or leadership unifying disparate constellations of feminist art and agitation. Journalistic narratives of Riot Grrrl also tended to isolate it from both a larger feminist history and from its own cultural moment in which a variety of media-savvy activist groups were changing the face of social protest (for example, ACT-UP!, Queer Nation, the Guerilla Girls, and WAC). So while we would not presume to define Riot Grrrl we can characterize it and make some observations that reflect our personal experiences (you can read about Kathleen’s involvement with the early Riot Grrrl meetings in DC in her herstory section).

In the early days of Riot Grrrl, exciting and strange girl bands were forming and touring, new feminist and queer aesthetics, vocabularies, and activist strategies were taking root in punk scenes, and intense penpal alliances were being forged. The founding members of Le Tigre (Kathleen, Jo, and Sadie Benning) met via their participation in this loose underground network of like-minded artists.

Riot Grrrl was, in part, a response to male dominated punk/hardcore scenes. As much as it reacted to and critiqued certain masculinist values and structures of punk rock, it was intrinsically connected to the DIY, anti-corporate, anti-capitalist values of those underground scenes (as well as intertwined socially and aesthetically with them). The way that punk music mocked notions of rock ‘n’ roll virtuosity and traditional stardom, the bands that were associated with early Riot Grrrl questioned the posturing and conventions of a boy-ruled punk scene by making stripped down punk music paired with feminist subject matter and performance strategies. Riot Grrrl meetings were similar to the feminist consciousness-raising groups of the 70′s. Mixed in with the practical work associated with making and distributing zines, promoting shows, organizing conventions, and doing activism, there was much discussion of women’s experiences of sexism, sexual abuse, assault and harassment, body-image, queer identities, and how all of these things intersect with class and race.

Riot Grrrl is/was not without its flaws, failures, inadequacies and dramas which we shall not enumerate here. But for whatever it’s worth, Riot Grrrl as a cultural phenomenon did, and hopefully will continue to make changes in the popular discourse surrounding “women in rock” (or whatever you wanna call it), and has created a lasting international network of feminist promoters, labels, writers, dj’s, journalists, musicians, artists, and fans so that a freaky band like Le Tigre could exist, make records, tour, and stay up all night writing crazy shit for our website!

Riot Acts: Punk Girl Groups Are Putting the Self Back in Self-Esteem

This is an OLD article from the New York Times about the riot grrrl movement.

Japenga, Ann. The New York Times
15 November 1992: Section 2, Page 30.

Riot Acts

Punk’s Girl Groups Are Putting the Self Back in Self-Esteem

The singer Kathleen Hanna sashayed onto the stage to distribute lyric sheets before a recent Seattle appearance of her band, Bikini Kill. The men in the crowd surged forward, extending their arms to receive the word from this new punk Madonna, with her flailing magenta ponytail and seductive stage manner. But she slapped the men back. “Girls only,” she scolded, putting copies of the lyrics in each upraised female hand. Ms. Hanna’s action set the tone for the performance: the band was delivering its wisdom to women, and men had better behave themselves if they wanted to hang around.

Bikini Kill is part of a growing cadre of so-called girl bands that are claiming a place in punk rock. And the rise of groups like Bratmobile, Heavens to Betsy, Mecca Normal and Bikini Kill has inspired a larger movement of feminists in their teens and early 20′s who call themselves Riot Grrrls. That’s girl with an angry “grrrrowl.”

Riot Grrrls is a grass-roots movement that began in the summer of 1991 around Olympia, the sedate state capital 65 miles south of Seattle, in the same thriving music environment that has spawned other Northwest bands like Nirvana and Mudhoney. The term Riot Grrrls was coined by a small group of female musicians in an attempt to define a more confident, less passive attitude about being a young woman. And though no one knows how widespread the scene has become, concerts here at college auditoriums, church halls and even art galleries are packed with Riot Grrrls, and pockets of sympathizers have sprung up around the country.

To call herself a Riot Grrrl, a woman need only rally to the slogan “Revolution Girl Style Now” and appreciate bands like Bikini Kill and Bratmobile, whose aggressive, unpolished sound has much in common with the early punk rockers Patti Smith, the Raincoats and Poly Styrene of the X-Ray Spex.

Indeed, the movement is above all a triumph of punk, a genre not normally noted for its enlightened attitude toward women. Riot Grrrls say they owe their existence to punk’s do-it-yourself ethic: if you have something to say, pick up a guitar, write a song and say it. “There’s no way any of this could have happened if it wasn’t for punk rock,” says Molly Neuman, Bratmobile’s 21-year-old drummer.

The Riot Grrrl credo is that young women should take care of one another. “This world doesn’t teach us how to be truly cool to each other, and so we have to teach each other,” says a Bikini Kill manifesto circulated in one of the movement’s scores of small newsletters. Riot Grrrls literature and lyrics speak out against the competition and jealousy that they feel society encourages among young women; the Riot Grrrls want to replace those attitudes with loyalty and support.

One of the central tenets is that talking about personal abuses and travails can make women stronger. Accordingly, Riot Grrrl bands address firsthand experiences of rape, incest, insecurity and the struggle of young women to define themselves within a patriarchy. “Don’t need you to tell me I’m cool/ Don’t need you to tell me I’m pretty,” Ms. Hanna shouts in a tune called “Male Approval, NOT.”

Riot Grrrls have a distinct look, combining traditional fashions like round-collared, cinched-waist dresses and incandescent red lipstick with harder touches: heavy black high-top boots and hacked-off punk hair. Also popular is a deliberately nerdy or dowdy appearance, a challenge to the cultural expectation that women should strive to be pretty. Some Riot Grrrls use felt pens to draw block letters on their arms and stomachs spelling out the words “rape,” “incest” and “shame,” another means of focusing discussion on painful personal issues.

Older feminists are heartened by the movement and see the Riot Grrrls as their descendants. “These are the individualistic daughters of the Reagan-Bush years,” says Michelle Fine, a professor of psychology at the Graduate Center of the City University of New York who works with teen-age girls. “It’s very hard for this generation of young women to imagine organizing. In their lifetimes, they haven’t seen collective struggle that has been successful.”

In fact, Riot Grrrl bands, nearly all white and middle class, seem more interested in networking with like-minded women than in courting mainstream recognition. Ms. Neuman wants to get the word out, but many young women who follow the scene will not talk to reporters. One explained her refusal by saying that the movement “is just something that’s been really important to me, and I’m afraid of it being exploited.”

It may be no surprise that these young feminists are trying to maintain a low profile. Society has traditionally been intolerant of young women who do not conform, suggests Lyn Mikel Brown, co-author with Carol Gilligan of “Meeting at the Crossroads: Women’s Psychology and Girls’ Development.” “To be openly resistant is to invite trouble. These are the girls who get sent to therapy or get kicked out of school.”

Ms. Brown is one of several researchers whose studies show that girls suffer a plunge in self-esteem as they approach adulthood, with its still-rigid cultural expectations of femininity. By rewriting the word girl, Riot Grrrls are a rare example of young women banding together to reverse that trend.

From its inception in Olympia, the Riot Grrrl phenomenon has spread to cities like Toronto, Washington, San Francisco and Columbus, Ohio — as young women with little or no musical training formed what some of them call “angry girl bands.”

Bratmobile and Bikini Kill were among the first Riot Grrrl bands. Ms. Neuman was studying women’s issues at the University of Oregon in Eugene when she and Allison Wolfe, started Bratmobile and the newsletter Girl Germs. (“Spread as many girls germs as you can,” one issue admonished.) About the same time, Ms. Hanna and Tobi Vail were putting together Bikini Kill, in Olympia.

Adhering to punk’s do-it-yourself ethic, they started recording cassettes in home studios or releasing 45′s on small labels. The band members also began corresponding with other groups in Oregon and Washington, and out of that the Riot Grrrls movement grew.

“We were all talking about similar things,” recalls Ms. Neuman. “We were frustrated with the world and with sexism, and even with the sexism we saw in alternative culture. It was an exciting time for me, feeling like I wasn’t crazy and there were people who felt the same things I did.”

Calvin Johnson, whose Olympia-based K Records has recorded Bratmobile and Mecca Normal, is amazed at how Riot Grrrls have caught on. “There’s been a spontaneous explosion of interest that I compare to punk rock in the 70′s, when people in Toronto and Paris and Olympia and Tucson were all saying at the same time: ‘Oh, yes, this is what I was looking for.’ “

In Ms. Neuman’s bedroom is a cardboard box full of letters from young women who have responded to Girl Germs. One girl wrote from “an elitist school dominated by the American dream” to say that finding others like her was “my only hope to survive this living hell.” Her letter closed: “Send me your lives.”

The Evolution of Girl Power in Music

When the words “Girl Power” are mentioned, it’s most people’s immediate reaction to automatically think of the Spice Girls.

But was it really the Spice Girls who started the “Girl Power” movement and what about Girl Power in the modern day? Does it still exist in music and who are the representatives of it now?

Even though the Spice Girls may have been one of the first bands to actually use the phrase “Girl Power” and also be very successful, I believe the roots of girl power in music started a long time before.

How about back in 1952? She probably never even uttered the phrase, but surely Big Mama Thornton was a damn good start for “Girl Power” in music to begin. For those who don’t know, Big Mama Thornton was actually the first artist to sing the song “Hound Dog”, which has now sadly been overshadowed by the Elvis Presley version. Her version was also very successful, it was number one on the Billboard R and B charts for seven weeks. Big Mama Thornton was a blues legend and is still relevant today. She was performing all her life, right up to her death. If that’s not “Girl Power” I don’t know what is!

The next stage in the evolution of “Girl Power” was in the sixties. Of course, feminism was not at the stage it is now, but women in music was making a big impression. In the sixties, all the girl groups emerged, such as The Supremes and The Ronettes. The girls in these bands may not have been feminists, but there’s no doubt about their success and popularity. Songs like “Baby Love” by The Supremes and “Dancing in the Street” by Martha and The Vandellas have lasted the test of time.

The nineties of course, were a turning point for “Girl Power” in music. Most notably, The Spice Girls.  However there were many more bands and artists that embodied “Girl Power” in this decade. The bands Bikini Kill, L7, Bratmobile and many others helped to create the genre “Riot Grrrl”.

“Riot Grrrl” was a true form of Girl Power. The artists associated with the Riot Grrrl movement were feminists, and not afraid to speak up for issues they believed in. They provided inspiration for women around the world with their political song lyrics and DIY philosophy. Riot Grrrl may not have been mainstream but it created a new stage in the evolution of Girl Power in music. One where women were not only successful, but good role models for girls and women by just being themselves and not just women looking pretty. Riot Grrrl still exists now, although it is still not in the mainstream.

This could change though, as bands like The Gossip now become more successful. Their lead singer Beth Ditto, is not your typical front woman, she is large and proud of it. Yet the media has now embraced to her, she even posed naked on the cover of NME.
So, now we are in the noughties, what is the current state of “Girl Power”? I personally believe Beth Ditto is the front woman currently for this notion. She is happy with the way she looks, and is generally a good role model for girls, she even writes an advice column in The Guardian newspaper.

Other than Beth, there is definitely a new “Girl Power” movement emerging. The artists I think are leading this now are people like Lily Allen and Kate Nash. I know many people may argue it’s bands like Girls Aloud and Beyonce that are “Girl Power”. Yes, they may be successful but are they really good role models for girls? Girls Aloud lost lots of weight after becoming successful and yet only a few months ago they rated their bodies very low and said they would consider plastic surgery in a magazine interview. Beyonce uses her bum as a selling point. Girl Power? I don’t think so!

Lily Allen and other similar singers like Kate Nash and Remi Nicole write witty, intelligent lyrics and in my opinion are far better role models for girls. Lily Allen isn’t afraid to say what she thinks, and even though she at one point wrote on her MySpace blog that she was unhappy and considering plastic surgery, she later retracted this statement and stated there’s more to life than being thin! I love the fact that at the recent V Festival she slated magazines like Heat for making women feel bad.

To conclude, “Girl Power” in music has certainly come a long way. “Girl Power” is not necessarily about literally shouting it from the rooftops, “Girl Power” is about being a woman and successful. “Girl Power” is not being afraid to be who you are and not caring what people think of you, but yet creating a positive image of yourself. Girls need role models to look up to who they can relate to. Music is a great way to influence them, so my message to women in music make yourself heard and believe in yourself!