This post remains remarkably popular! I want to leave it intact because it reflects my perspective as of 2012. However, as trans people and cis women alike face attacks from a resurgent fascism, I continue to believe in a politics that allows for people to learn and grow beyond the prejudices (inadvertant or otherwise) and mistakes of their earlier selves. I therefore feel it important to acknowledge that Kathleen Hanna has explicitly and consistently expressed support for trans rights in recent years, and for this I am grateful.
I also remain a massive Bikini Kill fan.
I love Bikini Kill. I love the uncompromising power of their music, the feminist rage in their lyrics, their wider political approach. Bikini Kill who inspired me to finally pick up the bass guitar that had sat forlorn in a corner of my room for several years, and Bikini Kill helped me believe that I could make music.
I realise it’s a bit of a cliché, but they’re the band responsible for getting me into riot grrrl, and from there began to explore feminist punk music (including that from contemporary UK bands) more widely.
I wanted to be a riot grrrl too, and was sad that the original movement faded away back in in the mid-1990s, well before I was ever aware of its existence.
However, riot grrrl doesn’t necessarily have the best reputation amongst trans people familiar with its history. I haven’t come across an account of (or by) a single trans woman who was involved in riot grrrl during its early 90s heyday. We weren’t the only ones to be marginalised either. The original riot grrrls may not have all been as middle-class as the mainstream media would like to make out, but the scene appears to have been predominantly white.
I haven’t come across anything particularly transphobic within those 1990s riot grrrl recordings and writings that remain in circulation on the Internet today. Still, various high-profile individuals made their views entirely clear through their involvement with the famously trans-exclusive Michigan Womyn’s Music Festival (also known as “Michfest”).
In 1999, controversy erupted after queer punks The Butchies played Michfest. Butchies frontwoman Kaia Wilson had previously been a member of riot grrrl band Team Dresch, and at the time was also running Mr Lady Records jointly with Tammy Rae Carland (a zine editor, spoken word performer, and subject of the Bikini Kill song For Tammy Rae).
A number of trans activists approached Mr Lady Records, asking the label – and its bands – to boycott Michfest. Wilson released a statement claiming to support trans rights, but also backing Michfest’s “womyn-born-womyn” policy. A 2010 interview suggests that she has not changed her views on the matter.
In 2001 and 2005, feminist electro-pop act Le Tigre were similarly criticised for playing Michfest. The group were fronted by Kathleen Hanna, former lead singer in Bikini Kill. Like The Butchies, Le Tigre were a sort of post-riot grrrl act: they came into being after the original movement faded away, but have become associated with riot grrrl in the minds of many both because of their politics and because of the involvement of particular musicians. Le Tigre were at one point signed to Mr Lady Records, although the record label dissolved in 2004.
Le Tigre don’t seem to have been in the slightest bit apologetic about playing Michfest. The argument was once again that womyn have a right to organise autonomously, with the unspoken proviso that trans women are (obviously) not womyn. Of course, this perspective couldn’t possibly be transphobic, what with all the gender-bending the band indulged in.
There’s also lot of talk on the Internet about Hanna also supposedly writing transphobic essays during the 1990s, but I’ve yet to see any evidence of these (and it seems I’m not the only one).
It’s interesting that Le Tigre (and, through Hanna, Bikini Kill) remain implicated in all of this, whilst The Butchies, Mr Lady Records, Tammy Rae and Team Dresch do not. As of 2012, trans activists and allies are still quick to condemn Bikini Kill as “problematic” in Tumblr posts and blog comments. This is no doubt down to the wider media profile experienced (although not necessarily enjoyed!) by Hanna and the various bands she’s been involved in. Wider criticisms of transphobia and cissexism within riot grrrl seem confined largely confined to blogs written by somewhat disallusioned veterans of the original movement.
Meanwhile, whilst Hanna doesn’t seem particularly keen to explicitly distance herself from her past actions and/or comments, she does seem to have quietly moved on, at least somewhat. In more recent interviews she can be seen praising “trans activism”, and earlier this year one fan reported receiving an interesting letter about the matter.
What does this mean for Bikini Kill? Not a great deal, in my opinion. Kathleen Hanna – a woman whose relationship with the media has always been complex – is not a perfect human being, and has said and done some fairly awful things. Her implicit support of Michfest in particular was never acceptable. She appears to be increasingly aware of this, and has clearly made some moves to educate herself. Still, an explicit acknowledgement of her past cissexism would certainly be welcome.
However, Hanna is in no way the totality of “Bikini Kill”, let alone “riot grrrl”. As her bandmate Tobi Vail pointed out:
We are not in anyway ‘leaders of’ or authorities on the ‘Riot Girl’ movement. In fact, as individuals we have each had different experiences with, feelings on, opinions of and varying degrees of involvement with ‘Riot Girl’ […] As individuals we respect and utilize and subscribe to a variety of different aesthetics, strategies, and beliefs, both political and punk-wise, some of which are probably considered ‘riot girl.’
The very rifts that fractured riot grrrl also gave it strength, for there was no one dogmatic, overriding ideology to bind it. Kaia Wilson, Tammy Rae Carland and Kathleen Hanna were not the movement. As a young woman looking back at a feminist movement I never had the opportunity to be involved with, I’m left with the impression that riot grrrl did not wholly welcome trans people, but did not intentionally reject us either (in spite of the backwards attitude of certain participating individuals). And of course, this situation wasn’t really good enough, but it’s nowhere near as bad as it could have been.
Fast-forward to 2012, and the idea of riot grrrl is once again gaining a certain cultural currency. The mainstream media are arguably rediscovering riot grrrl in the light of Pussy Riot’s magnificently brave actions of personal resistance, but new bands and collectives have been springing up around the world at an impressive rate for the last two or three years.
Riot grrrl never really went away: whilst former members of the original movement founded started new bands, new record labels, and new approaches to opening up underground music to girls and women (such as Ladyfest and Girls Rock Camp), there were always individuals and bands who clung to the label. Recently, the idea of a “riot grrrl revival” has blossomed into something more vital on a local, national and international level.
In the UK alone there are now local groups such as Riot Grrrl Birmingham emerging; frequent local events such as Riot Grrill in Leeds, Pussy Whipped in Edinburgh and Riots Not Diets in Brighton; and a whole host of new bands, many of whom communicate with one another through means such as the Riot Grrrl UK group on Facebook.
And one of the many wonderful things about all of these groups is that they’re all explicitly trans-inclusive. They’re not only drawing upon trans language and symbolism: they also see trans struggle as feminist struggle. These are groups that seek to understand cissexism and binarism, groups that talk about supporting CeCe McDonald in the same way that they talk about Pussy Riot.
Similarly, the international music compilations released regularly by the Riot Grrrl Berlin collective explicitly welcome trans artists, and ban transphobic language. There are even (shock, horror) riot grrrl bands with trans members emerging.
We should learn from the past, but not be bound by it. Trans-inclusive riot grrrl is finally here. Let’s make the most of it!
I am a graduate student in San Diego and am writing my thesis on the Riot Grrrl movement and gendered resistance. I am wondering if you would consider being interviewed for my thesis? I can discuss this with you in greater detail if you (or anybody else you know) is interested.
Sure thing! You want me to email you?
Pingback: Ins Wochenende mit Grumpy Cat – Der Linkspam
I love this article! I’ve been thinking a lot about riot grrrl lately and keep being totally inspired by them, but I always notice that they were definitely not super inclusive of trans* folks and people of color. I keep thinking about how the movement has changed and if it’s more inclusive now, but it seems like it kind of isn’t 😦 I think riot grrrl has a TON to offer for feminists, though, I just wonder what could be done for it to be more inclusive and actively anti-oppressive.
Hello! Thanks for your comment 🙂
I think one of the really great things about riot grrrl “revivals” (of which there have been several really, happening at different times in different countries) is that they offer an opportunity to address past problems.
I’m mostly familiar with the contemporary riot grrrl scene in the UK, which overlaps fairly naturally with related feminist and queer punk scenes. None of these scenes are perfect, but one advantage that they do have is that participants have had the chance to learn from past mistakes, and also integrate intersectional politics into how they do things. So we’re seeing active interventions against privilege at events, and a diverse range of art and music championed.
I’d suggest that a good place to start beyond running events is to talk about how many awesome riot grrrl bands there are right now featuring trans folks and people of colour! Bands like Cat Bear Tree, Skinny Girl Diet, Jesus & His Judgemental Father, My Therapist Says Hot Damn, Big Joanie, Slum of Legs, The Tuts, The Majorettes…I could go on 🙂
Feminism is about equality of the sexes, because women are oppressed for their sex. How completely shocking that a woman’s movement is about female people. And how completely unsurprising that males are mad at being excluded.
Transwomen are women.
Hi Dr Pearce, I am a freshman college student in New York writing a paper on gender identity within the riot grrrl and hyperpop music genres and was wondering if I could interview you. I know that you were open to being interviewed before (granted that was almost 9 years ago) and think that you would be an invaluable piece of my paper.
Hi Matt, if you share your contact details I’d be happy to be in touch.
Pingback: Revolution Girl Style: Tales of Riot Grrrls Past (and Present) – ddy,
Heyyy, I was too young to be going to shows during the first wave of riot girl and missed out on it. Started going to shows and getting involved in the punk scene in Chicago around like 96-97 when I was 11 or 12. I was definitely around for some of the revival. Just sharing a though I’ve had for a while…I really wonder how many involved in that first wave even knew any trans and or non-binary people? Or that we even existed. Some did for sure, but overall, I dunno. Your post from 11 years ago is about all I’ve found written on the subject.
Thanks for the write up Doc. This is definitely a ‘read it twice’ top quality article!
I’ve been revisiting my old feminist favourites, shuddering if they were actually precursors of today’s transphobes. Also with a new eye toward the whiteness of the movement and how exclusionary that could also be.
Glad to hear Riot grrrrrl is still going and is now trans inclusive. Solidarity and rock on sisters ❤