Riot Grrrls und Ladyfests:

Riot Grrrls und Ladyfests:
(Ladys of all genders)

Woher stammen die Begriffe und welche Philosophie verbirgt sich dahinter?

"There were a lot of women in the beginning. It (the Punk Movement) was women doing things. Then it became this whole macho, anti-women thing. Then women didn't go to see punk bands anymore because they were afraid of getting killed. I didn't even go because it was so violent and so macho that it was repulsive. Women just got squeezed out".

Jennifer Miro, "The Nuns", commenting on what she saw happening towards the end of 1977.
Die Riot Grrrl Bewegung wird in den 1990er Jahren in Olympia gegründet, weil es verhältnismäßig wenige Frauenpunkbands gibt und einige der Konzertbesucherinnen nicht mehr länger die Groupyrolle einnehmen wollen. Darüber hinaus gibt es gewaltsame Ausschreitungen auf Konzerten, von denen vor allem oft Frauen aufgrund von physischer Unterlegenheit stark betroffen sind. Nicht erst im Olympia der 90er gibt es Frauen, die selber künstlerisch aktiv waren und auf der Bühne Ihre Lieder spielten. Dennoch entwickelt sich hier aus der Punkszene heraus die feministische Riotgrrrlbewegung—die sich gegen Machoverhaltensmuster und das Degradieren der Frauen zu reinen Musikkonsumentinnen und „Pin Ups“ auflehnt.
1991 findet die „International Pop Underground Convention“ statt –es treffen sich innerhalb einer Woche über 50 Bands (Egetenmeier: 2006). 1922 veröffentlicht die Band Bikini Kill ihr zweiseitiges Riot Grrrl Manifest, das in der Zukunft als richtungweisende Diskussionsgrundlage gelten sollte. Ziel ist es Alternativen zu schaffen zu den christlich und kapitalistischen geprägten Produktionsweisen im Musikgeschäft, Bands zu gründen, sich gegenseitige die Instrumente beizubringen, Fanzines die die weibliche Perspektive in der Musikszene integriert sollten zu schreiben. Textinhalte und das Auftreten der Bands beziehen sich auf den alltäglichem Sexismus (rockstars with boyfriends//Punk und Hip Hop als Männerdomänen), Vergewaltigung, sexuellem Missbrauch und der Benachteiligung im Alltag aufgrund der Geschlechtszuweisung. Der Riot Grrrlbewegung geht es darum, diese Phänomene zu enttabuisieren und sie offensiv und deutlich in der Öffentlich zu thematisieren. Frauen sollen dazu aufgefordert werden, sich gegen Diskriminierung und physische /psychische Gewalt im Alltag zu wehren. Ein übergeordnetes Ziel ist es, die Geschlechterrolle zu dekonstruieren und die Konzepte „männlich und weiblich“ zu hinterfragen( vgl. Egenetemeier).
2000 gibt es das erste Ladyfest in den USA, der Begriff Grrrl istmittlerweile medial „beschlagnahmt“ und als Girlybewegung fehlinterpretiert (Lucy Lectric etc.) und vermarktet worden. Das Wort Lady sollte eine deutliche Abgrenzung zu Grrrl darstellen(Vgl. Mooshammer/ Trimmel). Auf den ersten Ladyfests der BRD 2003 wird Kritik an der Verwicklung der Riot Grrrls in die Vermarktungsmaschine kritisiert. Dazu kommt, dass die Ladfests nicht Punkmusik sondern deren DIY Einstellung in den Vordergrund stellen(->Elektro wird auch mit eingracht). “Selbstorganisiert und unkommerziell“ sollten die Feste bleiben. Auf dem dritten Ladysfest in Berlin wird nochmals unterstrichen, dass Netzwerke die Grundlage der feministischen Bewegung sind und dass man keine Gelder von diversen Institutionen annimmt—da diese die künstlerische Freiheiten einschränken könnten (Geldgeber als Chef der Veranstaltung). Die Mitarbeit auf Ladyfesten ist ehrenamtlich und die Künstler erhalten in der Regel nur Spritgeld. Ladyfests werden in den USA, Europa, Asien, Lateinamerika und Südafrika gefeiert. Zwischen 2000 und 2004 fanden weltweit insgesamt 65 statt. Es gibt sehr unterschiedliche Arten von Ladyfests und diese hängen von den Umsetzungsmöglichkeiten der Organisatorinnen ab.

Internetadressen:
www.ladyfest.net
www.ladyfest.org
www.riotgrrrl.de
www.grrrlzines.net

Zitate von:
Egetemeier, Helga: in Trust- zine (Sex und Musik) Nr. 116/01
Mooshammer Bettina; Trimmel, Eva Maria: Ladyspace. Feministische Raumprkatikenam Bespiel Ladyfest. Diplomarbeit Wien 2005

Sehr schöne Seite für Leute, die sich für Fanzines etc. interessieren.

http://www.else-joffi.de/
Fanzine-Katalog
Konzerte in Kaiserslautern
Kultur-Blog
Konzert-Fotografie
Fanzine-Reviews
Links
Kontakt

Skatecontest

Auch in diesem Jahr lädt Reinhold zum Wettkampf an der Minirampe in Balingen.

Date: 24.2.07
Time: 15 Uhr
Place: Mettenöschweg in Balingen/Frommern

Natürlich wie immer mit anschließendem Umtrunk!

DJane: Belle Rocketoire (Annabell/Rocketoire 96, 6 MHz)

Vegan Fun in the Postpunkkitchen

That is a very intersting platform I have just found on the web. What I find very appealing is the fact that this site does not have that sort of: biased dark and hardcore image. Instead it seems very coulourful and rookyfriendly.

Very interesting recipies for vegans and, of course, non-vegans:-)




"Hola!

Welcome to the Post Punk Kitchen.

We are a public access vegan cooking show, currently on haitus but we'll be back, promise! In the meantime you can watch the show on Google Video.

We've always loved cooking shows but they tend to be gross. So we thought it would be nice if there was something watchable for vegetarians. And people who may not have fancy accoutrement. (Please say that word in a french canadian accent because it's funnier that way)."

Riot For Variety Zine

Have a look at the street- artpictures I picked out, last night, in Stuttgart. Please keep in consideration that I am not the person who made the pictures; I only "photographed" them. More on www.riot-zine.blogspot.com

The Bell Jar

In Flappergathering 1 (Belgium Riot Grrrlszine) I read that "The Bell Jar" (1963) by Sylvia Plath is supposed to have influenced the writings of Courtney Love, Kate Bjelland of Babes in Toyland, and the members of Bikini Kill.

I have not read it yet but you can get a description on SPARKNOTES:

"Context
The Bell Jar is an autobiographical novel that conforms closely to the events of the author’s life. Sylvia Plath was born to Otto and Aurelia Plath in 1932 and spent her early childhood in the seaport town of Winthrop, Massachusetts. Otto Plath died when Plath was eight years old, and she moved with her mother, younger brother, and maternal grandparents to Wellesley, an inland suburb of Boston. Plath excelled in school and developed a strong interest in writing and drawing. In 1950, she won a scholarship to attend Smith College, where she majored in English. The Bell Jar recounts, in slightly fictionalized form, the events of the summer and autumn after Plath’s junior year. Like Esther, the protagonist of The Bell Jar, Plath was invited to serve as guest editor for a woman’s magazine in New York. After returning to Wellesley for the remainder of the summer, she had a nervous breakdown and attempted suicide.
Plath went on to complete a highly successful college career. She won the prestigious Fulbright scholarship to study at Cambridge University in England, where she met the English poet Ted Hughes. They married in 1956, and after a brief stint in the United States, where Plath taught at Smith, they moved back to England in 1959. Plath gave birth to her first child, Freda, the following year. The same year, she published The Colossus, her first volume of poetry. Her second child, Nicholas, was born in 1962. Hughes and Plath separated shortly afterward; her instability and his affair with another woman had placed great strain on their marriage. Plath and her children moved to a flat in London, where she continued to write poetry. The poems she wrote at this time were later published in a collection titled Ariel (1965). In February 1963, she gassed herself in her kitchen, ending her life at the age of thirty-one.
Plath most likely wrote a first draft of The Bell Jar in the late 1950s. In 1961 she received a fellowship that allowed her to complete the novel. The Bell Jar was published in London in January 1963 under the pseudonym Victoria Lucas. Plath chose to publish the work under a pseudonym in order to protect the people she portrayed in the novel, and because she was uncertain of the novel’s literary merit. The novel appeared posthumously in England under her own name in 1966, and in America, over the objections of her mother, in 1971. The Bell Jar has received moderate critical acclaim, and has long been valued not only as a glimpse into the psyche of a major poet, but as a witty and harrowing American coming-of-age story. Plath is primarily known not as a novelist, but as an outstanding poet. Ariel cemented her reputation as a great artist. Her other volumes of poetry, published posthumously, include Crossing the Water (1971), Winter Trees (1971), and The Collected Poems (1981), which won the Pulitzer Prize.
Sylvia Plath’s literary persona has always provoked extreme reactions. Onlookers tend to mythologize Plath either as a feminist martyr or a tragic heroine. The feminist martyr version of her life holds that Plath was driven over the edge by her misogynist husband, and sacrificed on the altar of pre-feminist, repressive 1950s America. The tragic heroine version of her life casts Plath as a talented but doomed young woman, unable to deal with the pressures of society because of her debilitating mental illness. Although neither myth presents a wholly accurate picture, truth exists in both. The Bell Jar does not label its protagonist’s life as either martyred or heroic. Plath does not attribute Esther’s instability to men, society, or Esther herself, although she does criticize all three. Rather, she blames mental illness, which she characterizes as a mysterious and horrific disease"(http://www.sparknotes.com/lit/belljar/).

About Greil Marcus-scholarly literature on rockmusic

"American music critic and journalist, Greil Marcus changed the face of rock criticism with his books "Mystery Train" (1975) and "Lipstick Traces" (1989) which placed rock and roll in American folk history and western civilization, respectively. He is the author of many books on rock music and pop culture, including "Dead Elvis: A Chronicle of a Cultural Obsession" (1991) and "Like a Rolling Stone: Bob Dylan at the Crossroads" (2005). He was the first review editor at Rolling Stone and has been critic and columnist for Creem, the Village Voice and Artforum and a contributor to The New Yorker, The New York Times and Esquire. His latest book, "The Shape of Things to Come: Prophecy and the American Voice," was released in September."


Quote form the Richard Hugo House Site