Critical Writing second part main body quotes/notes

‘The third wave’s most visibly organized incarnation to date- the brief but fiery riot grrrl movement of the 1990’s - not only sketches out the contours of feminist youth culture today but gives us a sense of how the pin-up has become to the youngest  of contemporary feminists a kind of visual shorthand for their era.’ (STARTS 343 ABOUT RIOT GRRRLS)
‘..activities viewed as male-dominated, in which riot grrl felt women had always participated but where their contributions had been overlooked

KATHLEEN HANNA AND ‘RIOT GRRRL’

DISCUSS THE BANDS SUCH AS HOLE AND THEIR FOLLOWING

GIRL POWER- HILLARY CARLIP 1995
‘RG meant to be empowering, having a safe space, standing up for girls rights…’
Communication and inclusion is key.
‘Uninhibited, uncensored, and always unpredictable’


Girl Zines: Making Media, Doing Feminism Book by Alison Piepmeier 2009

Women were seen as accessories rather than co-creators, male counterparts in the frame of mind that ‘girls don’t do that.’
Zines are- Fragmented/incoherent/explorations/sources of creative energy
‘Many grrrl zines are concerned w/unrealistic beauty standards’ they challenge corporate ways of publishing whilst using the ‘safe space’ to discuss and challenge diverse topics such as race, class, history, ethnicity, body image and gender.

SEX APPEAL- STEVEN HELLER 2000 NEW YORK
‘136- ‘...humour is a main weapon in the girlzines’ armoury...by poking fun at the situation, women take charge of the contexts in which they are viewed, and as a result, are empowered.’- MARKETING DOING THE SAME THING AS GIRLZINES? COMPARE SIMILARITIES


Girls- Catherine Driscoll 2002
‘Within girl culture there are many positions on the dominant late modern demand for  girls to (want to) be fashionable, encompassing many different modes of discipline and identification.’
‘Punk or riot grrl fashion, for example, is recognizable as not mainstream by producing a particular identifiable style’ subcultures such as these are also a way of marketing clothes to girls’ compare to girl zines quote (‘Girl power movement became a tool of resistance, but also a marketing stratedgy’ -Piepmeier 2009) discuss the roots of girl power how this continued to rise to mainstream and lead on to pop bands such as spice girls, girl power become mainstream etc
‘...girl readers of girls’ magazines are looking at eachother as desirable’ state this is a strong component and reason for positive girl zines opposed to corporate magazines, riot grrls were tired and bored of eroticized images of women in magazines and within western society girls and women are starting to reject the mainstream media’s beauty standards too.’

Rise in eating disorders and such are a contrast of the girl power movement perhaps?

‘The Spice Girls (suggest) that contestation over the meanings of girl culture and “girl power” surrounding and pervading popular culture, girls, and feminism’ marketed for girls. ‘..are figured as doing something in a place of all the girls who can’t- like kick over tables in a men’s social club in the “Wannabe” video clip’ Dridcoll questions if feminism can really be a mass produced and globally distributed ‘product’ DISCUSS
GIRL POWER SLOGAN- ‘Despite these stratedgies and slogans, the Spice Girls were widely discussed...as having no kind of authenticity at all.’
‘Hostile and destructive of a real girl culture, perhaps offering some expression of their desires, but encouraging passive conformity in the long term.’
Refer to marketing strategy quotes
‘While riot grrl zines and sites decry such pop phenomena as the Spice Girls, some of the Spice Girls fan material describes the riot grrls as dull and dour, whining, self pitying, and sexless- interestingly some of the same accusations riot grrls have leveled at second wave feminism.’



GIRLS THE FRONT- SARA MARCUS 2010 NEW YORK
327. (Late 90s post riot grrl) ‘Statements of female anger weren’t looking quite as revolutionary anymore either, now that major pop record labels were feeding it to the masses in the “angry women in pop” personas…’
‘Even “girl power”, a phrase that had probably debuted on the cover of the second Bikini Kill zine, transmogrified into a cheerleader’s refrain when the Spice Girls’ first record came out...these girls were so empowered, apparently, they didn’t even need to have real names or play instruments.’
‘Some wondered, was this the twenty-first-century rebirth of feminism the riot grrrls had wrought?’
‘Top-forty artists aren’t cultural movements; they’re ultra-homogenized and uber-marketed holographic projections...mass culture always contains cleaned-up, camera-ready variations on the underground, incorporating just enough of what’s “edgy” to maintain it’s own relevance.’

328- ‘...twenty-first-century feminism is alive in everyone who made it through the horror show of adolescence with the help of Riot Grrrl’s ideas about empowerment and DIY.’

MEDIA,GENDER AND IDENTITY- DAVID GAUNTLETT FIRST EDITION

GAUNTLETT ARGUES ‘The ‘girl power’ concept was a celebration of self-belief, independence and female friendship, and whilst cynics muttered that it was an empty ideology – sneering that its goals were only the right to shout “girl power” a lot – it nevertheless did seem to be empowering for young girls.’


Discuss difference of coverage comparing bands, spice girls were still mass produced for ‘teenyboppers’, riot grrls underground and for more mature. Feminism is now coming out of the underground.
‘Girl culture consists in circulating the things girls can do, be, have, and make, and in that process defining what processes are particular to girls’

SEX APPEAL- STEVEN HELLER 2000 NEW YORK

143- ‘Girl Power sexuality has become another advertising cliche, and the surburban housewife stereotype of the fifties has been suspended by the empowered party girl and the proud hooker’

DISCUSS, ARGUE AND GO FORWARD TO MODERN DAY ZINES, BOOKS MORE RECENT