Riot Grrrl

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Riot Grrrl

Clockwise from top left: Mommy Long Legs, Tacocat, Skating Polly, The-Regrettes, Panic Shack

Decade of origin

Early 1990s

Location of origin

United States (Washington D.C., Pacific Northwest)

Creator/s

Allison Wolfe, Molly Neuman, Jen Smith, Tobi Vail (coined term and foundational figures)

Key motifs

DIY zines and publications; handwritten text and collage; visible protest slogans; reclaimed derogatory terms; unpolished aesthetics

Key colours

Black, pink, red, white, ivory, dark grey

Key values

Feminism, anti-consumerism, rejection of the mainstream, DIY culture, female empowerment, social activism

Related aesthetics

Grunge
Kinderwhore
Punk
Queercore

Related media

The Punk Singer (2013), Girls to the Front: The True Story of the Riot Grrrl Revolution (2010), Revolution Girl Style Now! (cassette, 1991)

Related brands

Kill Rock Stars, K Records (independent labels)

Iconic figures

Kathleen Hanna, Tobi Vail, Kathi Wilcox, Billy Karren (Bikini Kill); Allison Wolfe, Molly Neuman, Erin Smith (Bratmobile)

Timeline

Preceded by

Punk
Third-Wave Feminism

Overlaps with

Queercore
Kinderwhore
Grunge

This article is part of a series on Punk

Riot Grrrl was an underground feminist punk movement that emerged in the early 1990s in the United States, primarily from Washington D.C. and the Pacific Northwest. Characterized by its DIY ethos, the movement combined punk music with feminist politics, challenging sexism, advocating for female empowerment, and addressing topics like domestic violence, discrimination, and rape through its lyrics and activism.

Musically, Riot Grrrl bands typically featured standard rock instrumentation, rooted in punk rock with influences from grunge, post-hardcore, and noise rock. The sound was often raw, aggressive, and intentionally unpolished, defined by shouted, confrontational female vocals and distorted guitar work within concise song structures. While some bands adjacent to the movement shared a similar aesthetic, such as grunge acts like Babes in Toyland and L7, they were often not considered part of the broader political movement. Some groups associated with Riot Grrrl also had ties to the Queercore scene.

The term "Riot Grrrl" originated from discussions among members of the feminist punk band Bratmobile, Allison Wolfe and Molly Neuman, who coined the phrase "girl riot." Jen Smith contributed the spelling "grrrl," which was further developed by Tobi Vail's expression "angry grrrl zines." The deliberate use of "grrrl" replaced the passive connotations of "girl" and conveyed the movement's anger and growl-like intensity. The movement gained significant momentum following events like "Girl Night" at the International Pop Underground Convention in Olympia, Washington, on August 20, 1991, which brought together numerous all-female or female-fronted bands and solidified the movement's focus on creative autonomy and community building.

History[]

Killallrock — The first true Riot Grrrl compilation and release

Under Construction

Documentary[]

The Punk Singer is a 2013 documentary film about feminist singer Kathleen Hanna who fronted the bands Bikini Kill and Le Tigre, and who was a central figure in the riot grrrl movement. Using a combination of interviews and archival footage including live band performances, the film traces the life and career of Hanna from her troubled upbringing and her start in spoken word performance poetry, through her riot grrrl zines, her prominent punk and dance-punk bands, her coining of the phrase "Smells Like Teen Spirit" for Kurt Cobain, her solo career as Julie Ruin, her feminist activism, her marriage to Beastie Boys member Adam Horovitz, and ending with Hanna's 2010 diagnosis of late-stage Lyme disease and the severe treatments she endures to combat it.

Visuals[]

Under Construction

Fashion[]

Riot Grrrl did not prescribe a single subcultural uniform, but it cultivated a distinct aesthetic born from its punk roots, DIY ethos, and feminist principles. The style served as a visual manifestation of the movement's challenge to mainstream beauty standards and traditional feminine roles. Participants often employed clothing as a form of self-expression and protest rather than adherence to a fashion trend.

Common elements of Riot Grrrl style included garments sourced from thrift stores, reflecting an anti-consumerist stance. These often featured personal customization, such as handwritten slogans, band names, or political messages. Typical attire included babydoll dresses, frequently paired with contrasting items like combat boots or ripped stockings, blending perceived innocence with defiance. Other characteristic pieces included band t-shirts, cardigans, and sneakers. The look embraced an unpolished, raw quality, rejecting notions of perfection in appearance.

A significant aspect of the aesthetic involved the use of makeup, particularly smudged eyeliner and bright or smeared lipstick, often applied in a messy manner. Hair was frequently styled in a deliberately unkempt way, sometimes bleached or dyed. Riot Grrrls also used their bodies as canvases, writing words like "slut" or feminist slogans on their skin with markers or lipstick, intending to reclaim derogatory terms and assert autonomy.^[1] This deliberate appropriation of feminine and provocative imagery, juxtaposed with aggressive punk performance, aimed to subvert societal expectations and provoke dialogue about gender, power, and sexuality. The style, while not a rigid code, became recognizable through its collective embrace of authenticity, rebellion, and visible feminist messaging.

Culture[]

Politics[]

Under Construction

Fanzines[]

Although Riot Grrrl emerged in Washington, D.C., it became mostly popular in Washington, specifically Olympia through the use of “zines,” which are short for “fanzines.” Zines are homemade publications with limited circulation. Zines became an important part of the punk scene in the early 1970s because it was a way to produce a publication “unhampered by corporate structure”. However, zines served as a place to discuss issues that were considered taboo in mainstream culture such as rape, incest, and eating disorders. Zines allowed women to form connections with other women that shared similar ideas and experiences and ultimately created a community. In Washington D.C., some of the band members from Bikini Kill and Bratmobile, held weekly meetings for women to attend, express their frustrations, and show support for one another. Approximately two years after the introduction of Riot Grrrl zines, a small Riot Grrrl network formed which spread to New York, Chicago, Philadelphia, and Richmond. These were groups of high school to college aged girl that met often to discuss ideas, plan Riot Grrrl festivals, and support each other’s music.

Music[]

Characteristics[]

Musically, Riot Grrrl sometimes fit right alongside their male counterparts in the Grunge scene, taking the world by storm in the 1990s. However most were never included in the Grunge scene and were far more punk based. Hole is not considered Riot Grrrl as they never embraced the community feminist aspect of that scene.