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See full list. Twitter Facebook Pinterest. Label Ingram. At the Knitting Factory show, held in December and billed as the Kathleen Hanna Project, her legacy was in every note and cheerleading dance move. At the end of the night, Ms. Hanna took the stage, in a skirt suit and low heels, to perform with her latest act, the Julie Ruin.
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She had fun but declared the proceedings sort of weird, seemingly uncomfortable with the notion of a tribute when she still felt very much in her prime. But then, the complications of aging and self-assessment have always been a part of the riot grrrl movement. When it took hold in the early and mid s, driven by bands from Olympia, Wash.
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Bopping around stages, high ponytail bouncing, Ms. Hanna became the face of this movement, which was small and short-lived but had a lasting effect on female-centric music and cultural critique. Now, two decades after its heyday, riot grrrl is beginning to formally take stock of itself.
Last year, Ms. Hanna, Johanna Fateman and JD Samson — grapple with marketing feminism and sexuality, a faltering music industry and the rigors of being on the road. Hanna, 42, said she wanted to release the film as an archive of the band since the members no longer plan to record together.
What to make of a Riot Grrrl? A snapshot of feminism and high school in the 1990s
She spends much of her time speaking to students and is in the process of shooting another documentary — the Knitting Factory show was part of it — that will focus more directly on her career and its impact. As the product of a scene that self-consciously rejected star power, she has sometimes balked at being a figurehead, but now she would like to have her say.
Music, too, has opened up. Warner, 32, grew up listening to riot grrrl in rural North Dakota and said it influenced her identity as a performer and a person. Even younger artists who tuned into riot grrrl years after its demise found a foothold there. Lee-Moss, 27, discovered Bikini Kill, its peers and successors — like L7 and Sleater-Kinney — while in college in London and found an artistic template.
Hanna carried it through when she founded Le Tigre with Ms. Fateman in New York in , years after they had been roommates in Portland, Ore. Their goal was to make overtly feminist dance-pop.
View all New York Times newsletters. Hanna recalled.
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Samson, their former roadie and a student of queer theory and gender politics, to join the band, it added another dimension to their shows. Samson, 32, a lesbian who proudly sports a mustache, was shocked by the level of attention her appearance drew onstage. She worried that people came to the shows just to make fun of her. The Fales library material provides a window onto how that activism developed.
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Fateman, who also donated to the archive. The letters chart their gushing friendship; as Ms. Hanna struggled with her leadership role over the years, Ms. Fateman said. As Ms. Hanna was called sexist for excluding men, and pilloried for taking credit for the D.
With tension among the bandmates high, Bikini Kill put out its final album in , and riot grrrl as an organized movement, with nationwide chapters, dissolved the same year. Hanna said. In the aftermath of Le Tigre, Ms.