Riot Grrrl, Number 7: Difference between revisions
No edit summary |
|||
| Line 16: | Line 16: | ||
A majority of the content is regarding men’s self-deprecation against women. The content expresses how women have been repeatedly taken advantage of, judged for doing things men would normally do, and ultimately overshadowed by the patriarchy. Girls were forced to think that they were supposed to be kind or submissive to men, so they would be liked; however, men wanted women to feel naive and inexperienced. A majority of the content is poems or prose that involve women’s stories of getting taken advantage of. The many women writing these works are fighting for their lives, bringing awareness to rape, going against stereotypes of sexism, and speaking out for women who couldn’t find their voices. On the positive side, some of the writing involves girls encouraging other girls to be themselves and stand out if that’s what makes them feel comfortable. | A majority of the content is regarding men’s self-deprecation against women. The content expresses how women have been repeatedly taken advantage of, judged for doing things men would normally do, and ultimately overshadowed by the patriarchy. Girls were forced to think that they were supposed to be kind or submissive to men, so they would be liked; however, men wanted women to feel naive and inexperienced. A majority of the content is poems or prose that involve women’s stories of getting taken advantage of. The many women writing these works are fighting for their lives, bringing awareness to rape, going against stereotypes of sexism, and speaking out for women who couldn’t find their voices. On the positive side, some of the writing involves girls encouraging other girls to be themselves and stand out if that’s what makes them feel comfortable. | ||
== Authors and Editors == | |||
== Authors and Editors | |||
Many zines were compiled from letters, photos, flyers, and other media sent by riot grrrls through the mail. Riot Grrrl, Number 7 was created this way too; there is no single author or editor, but instead many contributors. Most of these contributors remained anonymous or only used their first names as identifiers. However, there are a few full names in the zine: May Summer Farnsworth, Heather Leach, and Stacey E. Lee are among them. <ref name=":0" /> | Many zines were compiled from letters, photos, flyers, and other media sent by riot grrrls through the mail. Riot Grrrl, Number 7 was created this way too; there is no single author or editor, but instead many contributors. Most of these contributors remained anonymous or only used their first names as identifiers. However, there are a few full names in the zine: May Summer Farnsworth, Heather Leach, and Stacey E. Lee are among them. <ref name=":0" /> | ||
| Line 24: | Line 22: | ||
There is not a lot of information on any of the contributors, except for May Summer Farnsworth. Farnsworth started Riot Grrrl Press with Erika Reinstein in 1992. It was established in Washington, D.C., where they printed and distributed various zines, including Riot Grrrl, Number 7. <ref> “About Riot Grrrl Press and Riot Grrrl Review.” ''Riot Grrrl Press,'' riotgrrrlpress.weebly.com/about.html. Accessed 12 Sept. 2025. </ref> She is now a professor at Hobart and William Smith Colleges, where she teaches Spanish, Latin American, and Bilingual Studies. She has written and contributed to several books and journals, including “We ARE the Revolution: Riot Grrrl Press,” and ''Feminist Rehearsals: Gender at the Theatre in Early Twentieth Century Argentina and Mexico.'' <ref> “May Farnsworth.” ''Hobart and William Smith Colleges,'' 12 Feb. 2024, www.hws.edu/faculty/farnsworth-may.aspx. Accessed 12 Sept. 2025. </ref> | There is not a lot of information on any of the contributors, except for May Summer Farnsworth. Farnsworth started Riot Grrrl Press with Erika Reinstein in 1992. It was established in Washington, D.C., where they printed and distributed various zines, including Riot Grrrl, Number 7. <ref> “About Riot Grrrl Press and Riot Grrrl Review.” ''Riot Grrrl Press,'' riotgrrrlpress.weebly.com/about.html. Accessed 12 Sept. 2025. </ref> She is now a professor at Hobart and William Smith Colleges, where she teaches Spanish, Latin American, and Bilingual Studies. She has written and contributed to several books and journals, including “We ARE the Revolution: Riot Grrrl Press,” and ''Feminist Rehearsals: Gender at the Theatre in Early Twentieth Century Argentina and Mexico.'' <ref> “May Farnsworth.” ''Hobart and William Smith Colleges,'' 12 Feb. 2024, www.hws.edu/faculty/farnsworth-may.aspx. Accessed 12 Sept. 2025. </ref> | ||
== Context and History of the | == Context and History of the Zine == | ||
The Riot Grrrl movement was started in the early ‘90s by Kathleen Hanna and her band, Bikini Kill, to address the sexism in the punk music world. They wanted to rebel against the patriarchy by speaking their truths and their voices. The movement soon spread to zines as a form for everyone to express their thoughts. The zines discussed multiple topics, mostly regarding rape, sexual assault, and sexism. It was a political movement to empower women, especially in the punk world, and give them an outlet to relate with one another. The Riot Grrrl zines were one of the first to be published and are significant to the underground movement, both in the writing and musical world. The zine Riot Grrrl #7 discusses topics of sexism, sexual assault, rape, and the judement men place on women. | The Riot Grrrl movement was started in the early ‘90s by Kathleen Hanna and her band, Bikini Kill, to address the sexism in the punk music world. They wanted to rebel against the patriarchy by speaking their truths and their voices. The movement soon spread to zines as a form for everyone to express their thoughts. The zines discussed multiple topics, mostly regarding rape, sexual assault, and sexism. It was a political movement to empower women, especially in the punk world, and give them an outlet to relate with one another. The Riot Grrrl zines were one of the first to be published and are significant to the underground movement, both in the writing and musical world. The zine Riot Grrrl #7 discusses topics of sexism, sexual assault, rape, and the judement men place on women. | ||
Revision as of 04:57, 15 September 2025
Page Creators: Aubree Hamer, Chloe Cartwright, Hannah Crnkovich, Mea Cellitto, Samantha Summers
Title: Riot Grrrl, Number 7
Date: 1992
Location: Washington D.C.
Summary
A majority of the content is regarding men’s self-deprecation against women. The content expresses how women have been repeatedly taken advantage of, judged for doing things men would normally do, and ultimately overshadowed by the patriarchy. Girls were forced to think that they were supposed to be kind or submissive to men, so they would be liked; however, men wanted women to feel naive and inexperienced. A majority of the content is poems or prose that involve women’s stories of getting taken advantage of. The many women writing these works are fighting for their lives, bringing awareness to rape, going against stereotypes of sexism, and speaking out for women who couldn’t find their voices. On the positive side, some of the writing involves girls encouraging other girls to be themselves and stand out if that’s what makes them feel comfortable.
Authors and Editors
Many zines were compiled from letters, photos, flyers, and other media sent by riot grrrls through the mail. Riot Grrrl, Number 7 was created this way too; there is no single author or editor, but instead many contributors. Most of these contributors remained anonymous or only used their first names as identifiers. However, there are a few full names in the zine: May Summer Farnsworth, Heather Leach, and Stacey E. Lee are among them. [1]
There is not a lot of information on any of the contributors, except for May Summer Farnsworth. Farnsworth started Riot Grrrl Press with Erika Reinstein in 1992. It was established in Washington, D.C., where they printed and distributed various zines, including Riot Grrrl, Number 7. [2] She is now a professor at Hobart and William Smith Colleges, where she teaches Spanish, Latin American, and Bilingual Studies. She has written and contributed to several books and journals, including “We ARE the Revolution: Riot Grrrl Press,” and Feminist Rehearsals: Gender at the Theatre in Early Twentieth Century Argentina and Mexico. [3]
Context and History of the Zine
The Riot Grrrl movement was started in the early ‘90s by Kathleen Hanna and her band, Bikini Kill, to address the sexism in the punk music world. They wanted to rebel against the patriarchy by speaking their truths and their voices. The movement soon spread to zines as a form for everyone to express their thoughts. The zines discussed multiple topics, mostly regarding rape, sexual assault, and sexism. It was a political movement to empower women, especially in the punk world, and give them an outlet to relate with one another. The Riot Grrrl zines were one of the first to be published and are significant to the underground movement, both in the writing and musical world. The zine Riot Grrrl #7 discusses topics of sexism, sexual assault, rape, and the judement men place on women.
- ↑ 1.0 1.1 1.2 1.3 “Riot Grrrl, Number 7.” DC Public Library, 1992, digdc.dclibrary.org/do/80555ddc-1919-413b-a49d-8c8df075b9fe. Accessed 10 September, 2025, pp. 1.
- ↑ “About Riot Grrrl Press and Riot Grrrl Review.” Riot Grrrl Press, riotgrrrlpress.weebly.com/about.html. Accessed 12 Sept. 2025.
- ↑ “May Farnsworth.” Hobart and William Smith Colleges, 12 Feb. 2024, www.hws.edu/faculty/farnsworth-may.aspx. Accessed 12 Sept. 2025.
