Since the second half of the twentieth century in art, including music, the theme of social equality has been increasingly raised. Rock is traditionally considered to be the music of protest against established social norms (Romero, 2022). It is not surprising that this particular genre began to raise many topics related to the fight against class, race, gender, and other types of discrimination. In this vein, punk rock deserves special attention – a movement that flirted with frankly leftist ideas. Punks reject the traditional meaning of money, success, and high social status. The way I see it, it is not any specific work in this genre that deserves detailed consideration. It is difficult to single out any particular group or song that has had the most significant impact. The whole direction that emerged within punk in the early 90s should be considered – the so-called Riot grrrl. The classic themes that come up in Riot grrrl are the issues of sexism, domestic violence, rape, and patriarchy. Representatives of this musical direction are such groups as Heavens to Betsy, Bikini Kill, Bratmobile, and others.
The Riot grrrl movement has had a significant impact on the fight for women’s rights in music and society in general. This direction was believed to be the origin of third-wave feminism (McDonnell, 2018). Subsequently, many members of Riot grrrl got involved in politics and the further development of the feminist movement (McDonnell, 2018). From a musical point of view, Riot grrrl is usually classic punk rock with a predominance of electric guitar and dynamic drums. Like any work of this genre, songs in the style of Riot grrrl are designed to evoke a feeling of protest in a person. Aggressive music and lyrics make the listener feel anger and rejection of social injustice. The spirit of rebellion is generally characteristic of many young people. This music drew my attention to the issues of gender inequality and discrimination.
Punk rock, for obvious reasons, has always been criticized by official authorities. In the 1990s, the practice of canceling concerts or banning songs was not that popular (Romero, 2022). It is difficult to find examples of specific censorship of Riot grrrl in the literature. However, there could be profanity in many texts, which is why the songs were not launched on radio and television. Of course, such censorship has its justifications, but the government has no right to restrict art. Freedom of expression is just as important as freedom of speech. Third-wave feminism and riot grrrl were a reaction to what was happening in the US during those years. The 1980s were marked by a conservative turn in politics and public life. Republican candidate Ronald Reagan won the 1980 election. Reagan’s “conservative revolution” was directed mainly at the economy but also affected society’s cultural and social spheres. In particular, he opposed the Equal Rights Amendment, believing that women were already adequately protected by law. Not surprisingly, Riot grrrl caused a strong reaction – negative from conservatives and positive from the fighters for social justice (McDonnell, 2018). Considering the movement’s further political implications, it effectively conveyed its message to the target audience.
The music of Riot grrrl can undoubtedly be considered an art that has played a significant role in the culture of the twentieth century. Technical performance and beauty can be a subject of discussion. Some critics accuse punk rock of being “vulgar and unprofessional” (Romero, 2022). However, denying these songs’ ideas and emotional messages is difficult. As the Huggy Bear band’s manager put it, “In a symbolic sense, women were cutting and destroying the established image of femininity, aggressively tearing it down.” (McDonnell, 2018). The ability to change something in a person should be considered a characteristic of true art.
References
McDonnell, E. (Ed.). (2018). Women Who Rock: Bessie to Beyonce. Girl Groups to Riot Grrrl. Hachette UK.
Romero, N. (2022). Punk rock’s messages for the neoliberal university. Journal of Educational Administration and History, 54(3), 263-276.