CONTEXT OF PRACTICE - final evaluation

1. What skills have you developed through this module and how effectively do you think you have applied them?

I feel that throughout this module, I have definitely been able to communicate theory through a piece of practical work much more effectively. My essay and initial research really allowed me to gain a good understanding of the aesthetics and processes that were necessary to produce appropriate graphic products that were relevant to my content. These research skills also led on to a better understanding of audience and creative concerns, which meant I was able to demonstrate a befitting tone of voice as well as format. My essay gave me a strong foundation for the practical side of this brief, which I feel definitely aided me in my designs and thought process. 

In addition to this, this project also allowed me to move away from illustrative based work. The vast majority of the publication was focused on text and digital image, therefore I become a lot more confident in applying these skills, experimenting with layout and process. 

2. What approaches to/methods of design production have you developed and how have they informed your design development process?

The cut and stick DIY process was all very new to me. Originally, I started my design process by creating everything digitally, imitating this visual style. It was then noted in a crit that this didn't reflect the original Riot Grrrl zines, and it wasn't reminiscent of their visual history. I therefore realised that in order to get this right then I was going to have to do it properly. Although my room was covered in hundreds of bits of paper, the process of cutting and sticking in order to create layout was extremely enjoyable. It allowed me explore a new way of working, and made me steer clear of focusing my work on illustrative design. This was all kept organised through the use of folders and categories, so that it didn't all go over my head.

3. What strengths can you identify in your work and how have/will you capitalise on these?

In this module, I feel that my academic writing has been particularly strong. I have always had a keen interest in writing, and enjoy researching into topics that stand out to me. As I had chosen a topic that I had particular interest in, it was much more enjoyable and I was able to get really involved in this particular brief. As I felt this part of the module was strong, it gave me a good foundation for the practical side, giving me a better understanding of audience, tone of voice and visuals. 

Organisation was definitely key during this project also. As my project was cut and stick based, I was lumbered with a lot of sheets of paper and images. If I hadn't organised myself from the beginning then I probably would have found myself in a bit of a panic. In order to make sure things went smoothly, I created a number of separate folders that I was able to use to categorise all of my images and content. I feel that my final piece represents this as I have been able to produce three separate publications, all with relevant image and content. All of this was helped by my research skills and keen interest in the subject matter.

4. What weaknesses can you identify in your work and how will you address these in the future?

I feel that my weakness within this module is perhaps going for the obvious outcome. When looking at the Riot Grrrl movement, the content moves extremely nicely into the production of a zine. I feel that perhaps I could have explored my ideas further and come up with something that was a little bit more adventurous. However, despite this, I wanted to make sure that what I produced was relevant and appropriate to my research. I wanted to display that I had understood everything I had looked at and was therefore producing something that would display this. I could have mixed this up a bit by exploring format further or perhaps different processes, making my publication more contemporary. In future, I will vary my ideas so that I can get the most out of what I am doing. 

 5. Identify five things that you will do differently next time and what do you expect to gain from doing these?

1. I would have liked to have expanded on my primary research by perhaps getting in touch with a number of individuals that were connected to the movement. This way I could have gained a better understanding of the subject by collecting first hand accounts. Confidence issues stopped me from doing this, and I want to make sure that I push myself next time in order to get most out of a brief. 

2. Although I used a number of different resources when researching into my essay, a lot of what I looked at was electronic. I relied quite a lot on google books and I feel that next time I need to start seeing what the library has to offer. By doing this, I believe I will build upon my research skills, and won't find myself just reading through reels of information on the interenet. By using the library, I will be able to find relevant information quickly and efficiently. 

3. Next time I would like to explore format further. Although within one of my publications, I included a number of different paper sizes, I wish I had pushed this further within each separate zine. I found that this was a really nice personal touch, and it was also a contemporary addition.

4. I feel that I could have perhaps expanded my concept so that there was more structure to it. Although I evidently had an obvious audience, some form of campaign or exhibition may have strengthened this, giving it more context and purpose. Although zines are sold online all over the world and are readily available for anyone to purchase, there perhaps could have been something to advertise my products or make them stand out in a crowd.

5. I would like to place my products in the environment. For example, if I had had more time, I could have sold my zines on an online store, such as Etsy, or I could have included them within a zine fair. By doing this, I could gain feedback and a better understanding of what the audience wants. 

6.How would you grade yourself on the following areas?

Attendance- 4

Punctuality- 5

Motivation- 4

Commitment- 4

Quantity of work produced- 3

Quality of work produced- 3

RIOT GRRRL - final images

Here are the final  images of my printed products. Overall, I am pleased with how they turned out, and with the quality of the publications. The products were photographed in a scene that was relevant to the content, using stars and sequins that were included within the inside pages. 

Zines

The inside pages of each zine were printed on standard copy paper. Although I had booked a print slot well in advance, the most relevant and reflective print process was for me to print the content on standard paper. Original Riot Grrrl zines needed to be printed quickly and cheaply for efficient distribution of ideas, therefore I wanted my designs to show this. By doing this, I wasn't just taking the easy route out. As mentioned, I had a print slot for this module, however, the paper available to me downstairs would not have been apprporiate. There would have been no point in me printing on a thicker stock as this wouldn't have made sense in terms of the content within. It also wouldn't have made sense for me to print on my chosen stock downstairs, as this would have been extremely pricey. Altogether, it cost me less than a pound to print the inside pages, which shows just how little you need to spend in order to spread your ideas. 

In order to make the zines separate, three different coloured stocks were used. The chosen stock was thicker than the inside content for protection and also to make the overall finish more professional. I feel that I could've perhaps experimented more with the designs on the front, however, it was quite difficult to picture how my cut out scans would turn out on coloured stock. They are simple, to the point and work well as a set. I chose these three colours as I felt that they were relevant to the content in a way that didn't push femininity too much. From my research, I have found that pastel shades are quite popular and therefore didn't this was the right path to go down.

Each zine was bound using silver thread. This follows the usual DIY aesthetic, and represents the craft of the products. This was easy enough to do due to the thickness of the paper inside. It is a sturdy bind and I believe that it compliments the stock well. 

Zines, stickers, CD and badges

I also included stickers and badges within the pack to reflect craft and the punk rock following of the movement. Unfortunately, when I was down in print, they were unable to get the vinyl cutter working, and my stickers weren't cut out. This didn't bother me too much however as I felt that my physically cutting them out in the style of the images within the publication would make the products work better as a cohesive whole. I decided to keep the badges and stickers in these little zip lock bags as they are appropriate to my subject and this format works for the aesthetic I am trying to get across.

I also printed out a CD case and a vinyl sticker to go on the actual CD. This CD will include songs from a number of different bands that are associate with the Riot Grrrl movement. I felt that this was a nice addition as it would allow the user to experience the topic in a different way. They would be able to listen to the movement as well simply read about it. By including this, it may ignite some sort of willing to create and produce zines or music of their own.

CD case and CD

Close up images of the CD cover and CD with printed vinyl sticker.

Badges

Close up images of the five badges.

Inside pages

Below are a selection of the inside pages within each zine. The way they are photographed is relevant to DIY aesthetic, and was influenced by my research. These images allow you to see the cut and stick process once printed.

Manifesto

Music

Before starting this zine, I had the idea of including different page formats in order to add something a little bit more personal and interesting. On each page, for each band, I somehow wanted to have a strip of paper in front that had the bands lyrics on. Here, you can see how this has been done. To do this, I had to create a prototype, and figure out where each piece of paper would sit. Then I could work out where each lyric needed to be printed. I am really glad that I did this and wish I had experimented further with paper format throughout the rest of my publications.

DIY

RIOT GRRRL - final manifesto zine

Here is the final manifesto zine after the rescanning process. Altogether, my zine cost me less than a pound to print out. Although many may view this as me taking the easy route, or simply printing in bad quality, the way I have printed my zine reflects the nature and content of the publication. The whole point in the publication was for it to reflect the original Riot Grrrl aesthetic, and the only way to do this was to follow the same process that would have been followed back then. Although I didn't use a photocopier, I was still able to achieve the same type of print. I had over 90 pages to print altogether, therefore being able to print all three zines for under a pound just goes to show how this process was time and cost efficient, allowing individuals to quickly and easily spread their ideas. It allowed them to send their manifesto all over the world, and to anyone who wanted to hear about it. Not everyone has the time or means to produce a sleek and glossy publication in order to get their opinions out there, this was a way for them to reach individuals in the most relevant and efficient way.

RIOT GRRRL - final music zine

Here is a digital version of the final music zine with the additions of hand drawn illustration and other little bits. Although I feel the publications work to an extent on screen, I was really excited to see the pages printed. You could really get a feel of the whole process and the DIY nature of the publication once it was in paper format.

RIOT GRRRL - final DIY zine

As you flick through the publication, you can now see the additions that have been scanned in using pen and also stickers and sequins. This was actually an extremely enjoyable process as there was no worry about messing anything up as the page could simply be printed out quickly and cheaply again if needed and the process could restart. Although it was extremely lengthy as I had 90 pages to re-scan, I could really see where the blanks were, and where I needed to add certain things. By simply printing the publication, I got a much better idea of how it was all going to look, and it allowed me to bring it all together as a much more cohesive whole.

RIOT GRRRL - manifesto zine development

The development of the manifesto zine so far without any form of hand drawn type or illustration. Although I am happy with these pages and the overall order and layout, I feel that the addition of further aspects that will be added during the next scanning stage will allow everything to come together. I believe that the zines will be much more reflective of the original Riot Grrrl publications once I have added my own content by hand as this is a main part of the DIY aesthetic.

PRINT PROJECT LECTURE

Who am I?

Inspired by:

- fanzines
- pushead
- David Carson

- putting on gigs
- making flyers
- first computer
- DIY scene in Bradford and Leeds
- record label
- bands
- offset litho print

This is what I do

- graphic design
- unconventional
- letterpress printing
- movable type
- Holy Grail
- The Arab
- Treadle operated
- Jobbing press
- 1in12 Club
- Peter Good

Peter Good

- The Cunningham Amendment
- humour
- big influence/inspiration

2010/11

- postcards
- twee poster - "Move along. Nothing twee here." - trying to make a statement about what doing
- discharge poster

2012/13

- Leeds Print Festival
- print demos
- invites
- tickets
- exhibition
- xmas cards
- talks
- all set by hand

2012

- people/faces made out of type/ornaments
- a sort is...

2013

- No Fly posters
- wood/lead ornaments
- fluorescent inks
- first 'scanned' job

- Parenthesis 24
- Journal of the Fine Press Book Association
- Contribution to the Special Portfolio Edition

- Delve
- illustration for new Leeds food magazine
- posters for Leeds Loves Food festival

- poster for 'Just Do(ing) It, Again: The Politics of DIY and Self Organised Culture

How I do it

- lead type (8pt-72pt)
- ornaments
- woodtype (1"-11")
- different types of press
- design in head and on press
- no cmd-z
- work within limitations

- printing with paper
- four colour print
- final print detail
- on press

- Pink Milkfloat
- Glastonbury Free Press

How does this relate to you?

- letterpress
- improves typography skills
- stick your neck out
- be yourself
- don't follow trends
- ignore blogs
- step away from the computer
- go outside

ESSAY - edited version

To what extent did the Riot Grrrl movement of the 1990s have a radical and revolutionary impact on society, and what impact does it have today?

The Riot Grrrl movement was an underground, feminist, punk rock movement that emerged in Olympia, Washington in the early 1990s after being inspired by antiracist riots in D.C. This group of women particularly wanted to address the fact they felt they were being rejected from what was mostly a male-centric punk scene, with strong feelings of segregation. From this, a large number of bands became associated with the formation of the group, including Bikini Kill, Bratmobile and Huggy Bear. But music isn’t all they wanted to address. Riot Grrrl didn’t just stand for the empowerment of women in the music scene, but they also devoted their time to confronting the political and social issues of rape, domestic abuse, sexuality, racism and patriarchy. As part of a supposed subculture, they expressed their thoughts and beliefs through the creation of zines and art, holding a predominantly DIY ethic and anti-capitalist stance, issuing a manifesto, which discussed its philosophy and intent. Opinions are still divided, however, over the type of impact this movement really had on society, and whether or not they were truly groundbreaking. Their catchphrase “Revolution Girl Style Now”, taken from Bikini Kill’s 1991 demo cassette, is much debated and many believe Riot Grrrl to be a short-lived group of women, whilst others feel the torch is still burning. 

A number of authors have considered how the Riot Grrrl movement has created a platform for women, contributing greatly to the ‘third wave’ of feminism. The band Bikini Kill were at the heart of the movement, with their radical feminist lyrics and their hate for mainstream media. McIntosh (2010), D’Angelica (2009) and Carlip (1995) have all commented upon the fact that gender balance has improved since the creation of Riot Grrrl, continuing to ‘exert an iconic, nearly timeless influence’. For instance, McIntosh writing in her account of what exactly happened to the legacy of Riot Grrrl, describes how those that were at the centre of the feminist-punk movement have continued to keep the integrity of the group, explaining that the very existence of a women’s punk movement was groundbreaking in itself. She exclaimed that many are “continuing their involvement in a scene they so fiercely fought to be present in, and it was a fight that resulted in lots of positive changes.” (McIntosh, 2010) From this, McIntosh states that Riot Grrrl’s positive influence motivated female musicians, making them aware that they were capable of getting involved, describing them as a “revolutionary force for creatively-inclined women.” (McIntosh, 2010) For example, the DIY culture of the movement shaped individuals lives whilst it was in motion, with great influence on pop culture today. This “lady-powered” DIY movement pushed gender barriers within music, helping lay foundations for a new generation of craft revolution. Bikini Kill, a zine started in 1990 by Tobi Vail, focused on punk rock, politics, feminist issues and music. It was crucial in initiating the movement, and it was here they first issued their manifesto. The cut and paste format allowed for quick and efficient circulation of ideas and beliefs that could become widespread. It was also reflective of the punk rock aesthetic, with the use of safety pinks and crafting. It soon became a type of subcultural space that allowed for the transgression of gender and sexual hegemony.

This is supported by the fact that D’Angelica places all of her focus on the lasting achievements of Riot Grrrl, displaying the movement as influential and still in existence. She believes the movement has continued to spread through “internet connection amongst young women in the United States.” (D’Angelica, 2009, p109) D’Angelica writes in order to counter the argument that Riot Grrrl today is simply just watered down feminism, stating that those who believe this are simply ignorant. There is focus on the idea that all other articles and books relay the same pieces of surface information, following the same themes, and failing to ever actually look at how it affected women. Although many may claim the movement to be ‘dead’, it will continuously affect the live’s of many. “There still exist young women who consider themselves Riot Grrrls and boldly engage in feminist cultural activism.” (D’Angelica, 2009, p109) D’Angelica cites a contemporary zine titled Riot GrrrLife as an example and testament to “the enduring effect of Riot Grrrl cultural activism.” The simple fact that the movement hasn’t been forgotten about is said to be one of the main reasons as to why Riot Grrrl cannot be deemed a failure. This position is clearly further supported by Hillary Carlip’s book Girl Power: Young Women Speak Out! This book became a forum for young women, offering them a platform, something to inspire and encourage them. She states, “through writing, not only are demons freed and mockeries banished, but through self-expression...they come into their power.” (Carlip, 1995) By collecting everyone’s experiences, Carlip is offering inspiration, producing something that is still relative today. As part of her works, she looks at individual’s personal experiences of the movement, expressing how it affected them. One individual writes “this revolution is so real and so deep for me, it is something I have been waiting for my whole life, something that I think is imperative to my survival, or at least my sanity.” (Carlip, 1995) By displaying the personal effects of the movement, Carlip is demonstrating the important hold it had over these women, showing what it meant to those involved not just those who stood back and watched. It strengthens the argument of how it changed people on an individual level. Many of the books written about Riot Grrrl are by those who had no involvement with the movement, and it can be argued that many get it wrong. Carlip’s book therefore offers an insight into the thoughts and feelings of individuals who were there, they were part of what was going on, making it more credible.

These three authors support the argument that the Riot Grrrl movement has had great impact on today’s society, creating a platform for women. They believe that it is not just the music scene that they played a role in, but they have also contributed to the efforts of feminism. Despite this, although all of the above authors shine a positive light on Riot Grrrl, they only ever briefly touch upon the idea of it having a truly revolutionary impact. Whilst believing it created great opportunities for women, even McIntosh herself appears to contradict herself. Towards the beginning of her account, McIntosh describes these women as a ‘revolutionary force’ who were ‘hugely inspiring’ and whose ‘contribution to third-wave feminism was deeply important.’ She then goes on to proclaim that Riot Grrrl in fact failed to cause widespread societal ripple, and that it was never their intention to do so. A quote from a zine written by Red Chidgey is used to back up McIntosh’s argument stating: 

“Riot Grrrl is not something with mainstream appeal. It will not change society. But it’s changing me. It’s not the full stop manifesto point of my politics - it’s part, it’s creative resistance and it leads me further than it’s own boundaries.” (Chidgey)

It therefore must be asked whether or not ‘revolutionary’ is the right word to describe the movement, or whether or not Riot Grrrl just made people aware of the possibility of revolution, offering women a foundation on which to build. The term ‘revolution’ is used too lightly within some texts, and a number of authors, such as McIntosh, see the movement in such a positive light that they sometimes don’t want to discuss the failings of these women. It seemed to influence people on more of an individual level rather than a political one. It did not cause any changes regarding their belief system, for example abortion rights or harassment laws - these changes were achieved by those within the second-wave movement of feminists. Instead, Riot Grrrl made personal transformations and adjustments by targeting women and girls on an individual basis. A member of the movement stated “I think it’s important that Riot Grrrl as a movement is documented as a ‘youth feminism’ of the 1990s. Riot Grrrl has made really significant contributions to the lives of many girls and should be recognised as a valid form of feminism and youth resistance.” (Riot Grrrl member, source unknown) Riot Grrrl created a community for those who felt rejected from the rest of the world, helping them overcome personal problems and issues. 

In contrast to the above arguments, a number of authors have considered how the Riot Grrrl movement died off pretty suddenly and faded into the background as a mere ‘novelty movement’ that had no real impact on society. Bag (1993), Hebdige (1979) and Downes (2007) have all commented upon the idea that a number of different factors contributed to the demise of Riot Grrrl and to society not taking them seriously enough. For instance, Bag writing in her account of the problems faced by the movement describes how the term ‘Riot Grrrl’ is it’s number one downfall. Their decision to choose ‘girl’ instead of ‘woman’ has supposedly caused the movement a handful of problems. Bag believes that the word ‘girl’ suggests a “pre-pubescent, unthreatening brat” whereas ‘woman’ would have suggested “a mature, menstrual female figure” and therefore the public does not view them as “huge, hairy, revolutionary women.” (Bag, 1993) They are merely cute girls having a tantrum. This factor supposedly led to ridicule and the failure to be taken seriously outside of their own community that they were in. This then led to critics deeming them invalid and writing them off, believing that they would evidently have a negative affect on the rest of the world. Their failure to talk to the mainstream media meant that these critics were never corrected. The media feed people ideas and therefore the group was misrepresented. Blase (2005) supports Bag’s argument, stating that the above was “used as a basis to the argument that Riot Grrrl denigrated and threatened the survival of ‘proper’ feminists by reducing feminism to cheap sloganeering and stroppiness.” (Blase, 2005) Many saw too many differences between being a girl and being a woman, particularly the difference in knowledge and experience. Many dismissed the movement, believing they lacked any sort of intellect and that they were just going through a phase that they would soon grow out of. Jane Graham, writer of Shag Stamp magazine further supported this argument, expressing her feelings towards the name given to the movement “Riot Grrrl means little more than a piece of history which has passed ...I was always ambivalent about it - both excited and little embarrassed by it. I like some of the stuff, but always hated the name and the overt girlishness.” (Blase, 2005) Although these arguments seem a little bit forced, they are reasons as to why the Riot Grrrl movement became discredited. Whilst some women found a real connection to the group, others wanted to steer clear. Lack of authority and organisation meant that there were still a large number of women that wanted nothing to do with the group.

This is supported by the fact that Hebdige came up with a number of reasons as to why he deemed the Riot Grrrl movement a failure. Hebdige believed that the media hysteria that accompanies the emergence of subcultures soon begins a ‘commercial and ideological process’ in which the cultural phenomenon is “codified, made comprehensible, rendered at once public property and profitable merchandise.” (Hebdige, 1979, p96) When this happens, society doesn’t deem the subculture threatening anymore, social order may be maintained, as it becomes property of the press. The problem that Riot Grrrl faced however was the simple fact that they continuously refused to come under any sort of media or press coverage. They were approached by big names such as MTV, who wanted to record one of their meetings, and they were also approached by a number of journalists who wanted to cash in on their stories of feminist youth culture. The movement, even to this day, refuse to communicate with anyone that some sort of relationship with the mass and mainstream media. Their reasoning’s behind this were mainly to do with the continuous misrepresentation and exploitation in newspapers and magazines, including the New York Times and Newsweek. It even got the stage where they declare a ‘press blackout’ in 1993. The result of this therefore was the prevention of what Hebdige calls the ‘recuperative process’, which occurs after mass exploitation. 

This is further supported by the “angry women in rock”. Examples of these new angry women included Fiona Apple and Alana Morissette, who were said not to be as challenging as the women of Riot Grrrl, such as Kathleen Hanna. Their lyrics still addressed taboo subjects, however, such as sex and violence, yet they made their music much more relatable and it was deemed acceptable. It is said that they somewhat improved upon what Riot Grrrl had already achieved. This then links in with Hebdige’s link between subcultures and the media. For a subculture to be seen as non-threatening to the public and to social order they must be part of mainstream society, they must become a profitable commodity that can be sold and reviewed. The angry women of rock were able to construct themselves in such a way that they weren’t seen as a black mark on society, people weren’t threatened by the music they were producing, and they allowed others to interview them, coming across as respectable and polite individuals. This, therefore, is where Hebdige believes the Riot Grrrls went wrong. Their rejection of mass media and inability to co-operate meant they were displayed in a negative light. Newspapers and magazines would make up their own mind about them, printing further misrepresentations and misjudgements, causing many individuals to steer clear of the movement. Despite this, it is hard to say whether or not Riot Grrrl should be defined as a subculture. Their statement ‘every girl is a riot grrrl’ would suggest they’re not, however, the media response within newspapers and magazines is definitely consistent with how other youth subcultures were being portrayed around the same time as this movement. Their delinquency couldn’t be compared to the likes of the mods and rockers, although some of their behaviour was deemed unacceptable and rebellious. This was because they were breaking the ‘norms’ and conventions of femininity, however, and not because they were causing any form of actual riots or violent behaviour. The simple fact they were a feminist initiative would suggest that they did not fit the traditional modelling of youth subcultures as they had specific aims towards a particular cultural context. ‘Moral panic’ was often associated with youth subcultures (Cohen, 1980) and this wasn’t the case with Riot Grrrl, although certain newspapers did try to stir things up on occasion due to their rejection of media. Anne Barrowclough’s article in the Mail on Saturday stated “Meet the Riot Grrrls, the latest, nastiest phenomenon to enter the British music scene...They call themselves feminists but theirs is a feminism of rage and, even, fear.” (Barrowclough, 1993) This account displays the type of media fascination that Hebdige talks about, whilst portraying a threatening and invasive group of women, which was exaggerated and sensationalised to create reaction.

In addition to the above viewpoints, it should be noted that it is also argued that Riot Grrrl’s influence was predominantly within America, and details of the movement elsewhere, even in England, are extremely brief. This is important as it offers a range of factors as to why the movement may not have had the same effects all around the world. Although the movement was evidently visible within the UK, it is said that differences between social and cultural structures meant Riot Grrrl struggled to really set off. Downes (2007) provided an account of the movement’s influence within the United Kingdom, displaying the setbacks it encountered:

“The character that British Riot Grrrl would take was to be dictated and shaped by dominant cultural industries whose mainstream concept of indie, pub-centred music venue circuit and nationalised music media restricted, distracted and hindered an underground independent Riot Grrrl community. British Riot Grrrl had to start from scratch.” (Downes, 2007, p12-49)

Downes argued that the UK lacked the components and environment needed to produce and establish the same influence it held elsewhere. Although Huggy Bear were one of the main British bands to emerge from the existence of Riot Grrrl, straight away many could sense that it was different from the state the movement was in within America. Two males, Jon Slade and Chris Rowley, conceived Huggy Bear and although they set the foundations for the movement, it is argued that their different ideals are what inevitably caused its demise. Some may argue that a modern example of this can also be seen within The Cribs, who could be called a ‘post-Riot Grrrl’ band, however this is not really what they had in mind. The anger is there within their lyrics, yet it is not a true return to the movement. 

To conclude, it would appear that all of the arguments lead to this main idea that the Riot Grrrl movement became, and still is, something that changed and effected people on much more of an individual basis, rather than a revolutionary, world-wide one. Their production method of zines, and their DIY nature, meant that they could reach out to women everywhere. Zines were there to make a statement, and to empower, creating a support system for those who had the same belief system as this group of women. They were predominantly made up of women with an education, and therefore they had this sort of advantage, a tool, that would allow them to express their feelings in a successful manner. They connected with the reader, discussing issues that everyone could relate to, issues that everybody wanted to change. In addition to this, they contributed greatly to the way in which women began to feel about themselves, as well as creating a platform for them to become much more involved within the punk scene. Influence of Riot Grrrl can mainly be seen within third wave feminism but it is also visible in bands today. This includes The Gossip, The Yeah Yeah Yeahs and even British band The Cribs, with Everett True, a British music journalist, claiming that The Cribs believe the movement isn’t over and is still necessary in today’s society. This may add to the argument that Riot Grrrl isn’t dead, but there is yet to be a revolution. 

Individuals today continue to be inspired by the work of the Riot Grrrl movement, yet many wonder whether or not they would have been more successful if they’d created a better image for themselves within the media. Their refusal to participate shone a negative light upon the group. The mainstream media failed to reflect their true efforts, and their concerns, but many believe this to be their own failing. There was no real central organisation or authority that would allow the public to see them how they wanted to be seen. It is also suggested that the movement failed to appeal and meet the needs of everyone because it only really targeted the white, middle-class female. 

It therefore must be noted that this movement was not a revolution in the sense that it encountered and caused political changes, but it did create a platform for women today. Many hoped that individuals would pick up on what Riot Grrrl started and run with it. It was a short-lived movement but it never went away, and it has still not been forgotten about, but there is not enough of it. 

Image

1. 

Bikini Kill, Issue 2, 1990

References

• McIntosh, Heather (2010). Brign the herstory of Riot Grrrl back into the present. [ONLINE] Available at: http://www.thefword.org.uk/features/2010/02/bring_the_herst [Accessed 12 January 13)
• McIntosh, Heather (2010). Brign the herstory of Riot Grrrl back into the present. [ONLINE] Available at: http://www.thefword.org.uk/features/2010/02/bring_the_herst [Accessed 12 January 13)
• D’Angelica, Christ (2009). Beyond Bikini Kill: A History of Riot Grrrl, from Grrrls to Ladies. ProQuest, pg 109
• D’Angelica, Christ (2009). Beyond Bikini Kill: A History of Riot Grrrl, from Grrrls to Ladies. ProQuest, pg 109
• Carlip, Hillary (1995). Girl Power: Young Women Speak Out!. First edition, New York: Warner Books, Inc.
• Carlip, Hillary (1995). Girl Power: Young Women Speak Out!. First edition, New York: Warner Books, Inc.
• Red Chidgey, source unknown
• Riot Grrrl member, source unknown
• Bag, Sarah (1993), The G Word, in Leeds and Bradford Riot Grrrl
• Blase, Cazz (2005), But What of Us? UK Riot Grrrl. [ONLINE] Available at: http://www.thefword.org.uk/features/2005/01/but_what_of_us_uk_riot_grrrl_part_3 [Accessed 12 January 13)
• Jane Graham in Blase, Cazz (2005), But What of Us? UK Riot Grrrl. [ONLINE] Available at: http://www.thefword.org.uk/features/2005/01/but_what_of_us_uk_riot_grrrl_part_3 [Accessed 12 January 13)
• Hebdige, Dick (1979, 96), Subculture: The Meaning of Style (New Accents). New Edition, Routledge, pg 96
• Downes, Julia (2007) Riot Grrrl: the legacy and contemporary landscape of DIY feminist cultural activis, in Monem, N. (ed.) Riot Grrrl: revolution girl style now! London: Black Dog publishing, pg 12-49

Bibliography

1. Schilt, Kristen. Popular Music and Society, Vol. 26, No. 1, 2003.
2. Bag, Sarah. The G Word, in Leeds and Bradford Riot Grrrl, 1993.
3. Blase, Cazz. But What of Us? UK Riot Grrrl, 2005.
4. Marcus, Sara. Clowns to the Left of Me, Jokes to the Right, 2011.
5. McIntosh, Heater. Bring the herstory of Riot Grrrl back into the present, 2010.
6. Carlip, Hillary. Girl Power: Young Women Speak Out!, 1995
7. Hebdige, Dick. Subculture: The Meaning of Style, 1979
8. D'Angelica, Christ, Beyond Bikini Kill: A History of Riot Grrrl, from Grrrls to Ladies, 2009.

ESSAY - edits

In order to improve upon my essay, I took the main points from my feedback and focused on these. One of the ways to improve was by including some possible visual analysis. As I hadn't really discussed any sort of artwork, I decided that the most appropriate place to fit this in would be where I spoke of DIY ethics and how this influenced the movement. I therefore decided to look at the Bikini Kill zine from 1990 that was started by Tobi Vail and Kathleen Hanna. This zine was instrumental in the survival of Riot Grrrl, and it's first issue displayed the manifesto, which stated what Riot Grrrl was and what they believed in. The cut and stick methods of production were necessary for quick and efficient spreading of ideas to a wide scale audience. It allowed them to print a lot of publications, that cost very little and didn't take up too much time. It was also representative of the punk rock aesthetic.

Next, I needed to focus on a closer analysis of one of the texts. As I also needed to look more at subcultural theory also, I decided that I would look into Hebdige's analysis of the Riot Grrrl movement. This way, I was focusing on both pieces of feedback in a more concise and organised manner, instead of trying to shove more content in elsewhere. In order to do this, I researched into Marion Leonard's Gender in the Music Industry: Rock, Discourse and Girl Power. In this text, she discusses Riot Grrrl as a youth culture, and whether or not it is useful to conceptualise Riot Grrrl as one. This was extremely helpful as it focused on a few of Hebdige's theories, and it also looked at other theorists such as Cohen. It was interesting to read as this is something I have looked at in a previous subject, and therefore allowed me to apply my knowledge from that to new theory. From this, I explored the possibility of the movement being defined as a subculture, and how the media affected this perception.

ESSAY - feedback

- Very good understanding of the cultural context and legacy of Riot Grrrl

- Very good understanding of the link between theory and culture. More visual analysis?

- Excellent attempts at triangulation but a closer analysis of one of the texts would help

- Very good research but this could be developed further with more subcultural theory

- Very well written, but use Harvard referencing

RIOT GRRRL - range of products

Badges

As part of a product range, I wanted to include items that were relevant to my content and the publication. Zines usually come with little extras and keepsakes when purchased from the author, and therefore this is something that I felt was necessary. I therefore decided to come up with some badge designs that reflected my publications and could be included as part of a pack.

I purchased some blank badges, and sent my desired designs to be printed on them. I decided on five 25mm x 25mm badges, each with a separate image. I emailed in order to make sure my order was correct and that it would arrive on time.

Badge images

Re-sealable bag

As well as my badges, I also decided that I wanted to purchase something that I could keep all of my zines enclosed in, as well as my extras. I felt that a resealable clear bag would be the most appropriate to my content and aesthetics and therefore purchased a number of these which I could use.

The ones I purchases were 10in x 8 in, which would fit an A4 in. Although my zines are A5, I wanted to make sure that all three would fit in the bag, as well as other products. 

CD case

As part of my product range I want to include a CD that has a range of music on it. Evidently, the music included will be relevant to the subject and will include bands associated with the Riot Grrrl movement. 

Stickers

I am also going to include a range of stickers that will come as part of the zine pack. Stickers are extremely relevant to the content and offer the chance of creating your own designs and publications. They are part of the whole DIY aesthetic, and allow individuals to display their beliefs and interests. 

RIOT GRRRL - manifesto zine development

Development of the manifesto zine that includes content laying out the history and principles behind the movement itself. In terms of order, this should be the zine that comes first as it provides the most background on Riot Grrrl. It also explores how Riot Grrrl has modernised, expanded and evolved in terms of new members and influence. I am unsure as to whether or not I should focus it more on the original movement, rather than how it has changed over time. This is something I will look into when printing my publication and seeing how it reads. I feel that there should perhaps be more information on the movement, however, I need to remember that I have evidently split the movement into three, including music and DIY within different publications.

Introduction

What is Riot Grrrl?

The New Girls

Pussy Riot

Lena Dunham

Tavi Gevinson