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"content": "\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>[aside postid='arts_13957749']That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.thelindalindas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Linda Lindas\u003c/a> are back at the L.A. Public Library, almost a year after their last set there went viral.\u003c/p>\n\u003cp>In May 2021, the quartet of punk rock teens—sisters Mila and Lucia de la Garza, their cousin Eloise Wong and their friend Bela Salazar—performed a raucous set at the library to celebrate AAPI Heritage Month. The band’s searing anthem “Racist Sexist Boy” particularly grabbed the nation’s attention: The track was a perfectly-timed reflection of what young Asian women were dealing with in the midst of a COVID-era spike in hate crimes targeting the AAPI community.\u003c/p>\n\u003cp>[aside postid='arts_13897650']Before the 2021 library appearance, the band was best known for \u003ca href=\"https://www.kqed.org/pop/111468/for-children-at-the-bikini-kill-reunion-revolution-girl-style-now-is-finally-a-reality\" target=\"_blank\" rel=\"noopener noreferrer\">supporting Bikini Kill at some of the riot grrrl legends’ 2019 reunion shows\u003c/a>. In the months after going viral, The Linda Lindas signed to Epitaph Records and released their impressive debut album, \u003cem>Growing Up.\u003c/em> The band’s Tiny Desk set for NPR shows just how far the young Los Angeles residents have come in the last year, playing more polished hooks and harmonies with more precision. (Their humor and endearing between-song banter, however, remains just the same.)\u003c/p>\n\u003cp>You can watch the full set, which features “Growing Up,” “Talking to Myself,” “Why,” “Cuántas Veces” (featuring Mila’s drum teacher, Spencer Were) and “Racist, Sexist Boy,” below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=USdiumz1ZFM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Mosswood Meltdown 2023 Lineup: Le Tigre, Bratmobile, ESG, J.J. Fad, Gravy Train!!!! and More",
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"content": "\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13915779,arts_13883674\"]For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DgXuGzWPgOM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The single is another taste of what’s to come from Destroy Boys’ third album, \u003ca href=\"https://hopelessrecords.myshopify.com/collections/destroy-boys/products/deboohomgb-lp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Open Mouth, Open Heart\u003c/em>\u003c/a>—out on Oct. 8, via \u003ca href=\"https://www.hopelessrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hopeless Records\u003c/a>. The band is \u003ca href=\"https://www.destroydestroyboys.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">touring\u003c/a> across the US throughout August and September.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DgXuGzWPgOM'\n title='//www.youtube.com/embed/DgXuGzWPgOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As someone who still flinches at awkward memories of being a Russian immigrant kid in middle school, there’s something deeply healing about watching \u003ca href=\"https://www.instagram.com/the_linda_lindas/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Linda Lindas\u003c/a>. In case you missed it, they’re a punk quartet comprised of Lucia (14), Eloise (13), Mila (10) and Bela (16), and this week they went viral for their Los Angeles public library performance of their original song “Racist, Sexist Boy.”\u003c/p>\n\u003cp>“A little while before we went into lockdown, a boy in my class came up to me and said that his dad told him to stay away from Chinese people,” said drummer Mila during the May 4 performance, which was part of an AAPI Heritage Month celebration. “After I told him I was Chinese, he backed away from me.”\u003c/p>\n\u003cp>“So this is about him and all the other racist, sexist boys in this world,” added lead singer Eloise before the band revved their distortion-heavy guitars and powered up the bass and drums. With fury in her voice, Eloise delivers lyrics that have been stuck in my head since I first saw the video: “Racist sexist boy, we rebuild what you destroy.”\u003c/p>\n\u003cp>https://twitter.com/LAPublicLibrary/status/1395485852579495936?s=20\u003c/p>\n\u003cp>These girls have fierceness I could only dream of when I was listening to the Ramones on my CD player at their age, and their message couldn’t be more timely as communities across the country figure out how to heal from recent anti-Asian racism and violence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other adults are taking notice. The Linda Lindas first began playing together in 2018 at the rock camp \u003ca href=\"https://www.lamag.com/culturefiles/girlschool-la-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Girlschool LA\u003c/a>, where they received guidance from musicians like Karen O of the Yeah Yeah Yeahs. Their star has only shone brighter from there: They’ve performed with punk veteran Alice Bag and contemporary acts such as Best Coast. They’ve also played at numerous activist events, appeared in Amy Poehler’s film \u003ca href=\"https://www.youtube.com/watch?v=wNTgy6cm_-Y&ab_channel=Netflix\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moxie\u003c/em>\u003c/a> and wrote a song for the Netflix documentary \u003ca href=\"https://www.youtube.com/watch?v=89JHtUb_rzA&ab_channel=StreamSourceTrailers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Claudia Kishi Club,\u003c/em>\u003c/a> about the importance of the Japanese American character from the popular \u003cem>Babysitters Club\u003c/em> book series. [aside postid='arts_13896306']\u003c/p>\n\u003cp>These are all impressive milestones to reach before high school (or even middle school) graduation, and it only gets better. The Linda Lindas were chosen to open for riot grrrl legends Bikini Kill for their 2019 reunion show, and Tom Morello of Rage Against the Machine is among their fans.\u003c/p>\n\u003cp>It’s safe to say The Linda Lindas have a bright future ahead, and I’m rooting for them. Watch the full concert and Q&A below.\u003c/p>\n\u003cp>https://youtu.be/3msSlr4PkDE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This post originally listed The Linda Lindas’ song as “Racist, Sexist Boys.” The correct title is “Racist, Sexist Boy.”\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As someone who still flinches at awkward memories of being a Russian immigrant kid in middle school, there’s something deeply healing about watching \u003ca href=\"https://www.instagram.com/the_linda_lindas/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Linda Lindas\u003c/a>. In case you missed it, they’re a punk quartet comprised of Lucia (14), Eloise (13), Mila (10) and Bela (16), and this week they went viral for their Los Angeles public library performance of their original song “Racist, Sexist Boy.”\u003c/p>\n\u003cp>“A little while before we went into lockdown, a boy in my class came up to me and said that his dad told him to stay away from Chinese people,” said drummer Mila during the May 4 performance, which was part of an AAPI Heritage Month celebration. “After I told him I was Chinese, he backed away from me.”\u003c/p>\n\u003cp>“So this is about him and all the other racist, sexist boys in this world,” added lead singer Eloise before the band revved their distortion-heavy guitars and powered up the bass and drums. With fury in her voice, Eloise delivers lyrics that have been stuck in my head since I first saw the video: “Racist sexist boy, we rebuild what you destroy.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These are all impressive milestones to reach before high school (or even middle school) graduation, and it only gets better. The Linda Lindas were chosen to open for riot grrrl legends Bikini Kill for their 2019 reunion show, and Tom Morello of Rage Against the Machine is among their fans.\u003c/p>\n\u003cp>It’s safe to say The Linda Lindas have a bright future ahead, and I’m rooting for them. Watch the full concert and Q&A below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3msSlr4PkDE'\n title='//www.youtube.com/embed/3msSlr4PkDE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This post originally listed The Linda Lindas’ song as “Racist, Sexist Boys.” The correct title is “Racist, Sexist Boy.”\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">Bikini Kill reunited\u003c/a> in Los Angeles earlier this year, it was a near-religious experience for longtime fans who hadn’t seen them since their split in 1997.\u003c/p>\n\u003cp>Now, the pioneering riot grrrl band is back to headline \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a> in Oakland. Burger Records’ annual fest returns to Mosswood Park on July 11–12, 2020, and it marks Bikini Kill’s first Bay Area show in 25 years.\u003c/p>\n\u003cp>Other punk royalty, including the Circle Jerks and Alice Bag, join Bikini Kill on the bill. The rest of the lineup includes a variety of punk, post-punk, indie rock and garage rock acts—veterans and young musicians alike—including Plastic Bertrand, Bleached, Pansy Division, Flipper, Carbonas, The Fevers, The Younger Lovers, Panty Raid and Midnite Snaxxx. As always, Burger Boogaloo is hosted by director and counterculture hero \u003ca href=\"https://www.kqed.org/arts/13860384/john-waters-talks-microdosing-homelessness-and-cops-in-pride-before-burger-boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo is running a holiday ticket special to celebrate the lineup announcement. \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RM31JAhFT88\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">Bikini Kill reunited\u003c/a> in Los Angeles earlier this year, it was a near-religious experience for longtime fans who hadn’t seen them since their split in 1997.\u003c/p>\n\u003cp>Now, the pioneering riot grrrl band is back to headline \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a> in Oakland. Burger Records’ annual fest returns to Mosswood Park on July 11–12, 2020, and it marks Bikini Kill’s first Bay Area show in 25 years.\u003c/p>\n\u003cp>Other punk royalty, including the Circle Jerks and Alice Bag, join Bikini Kill on the bill. The rest of the lineup includes a variety of punk, post-punk, indie rock and garage rock acts—veterans and young musicians alike—including Plastic Bertrand, Bleached, Pansy Division, Flipper, Carbonas, The Fevers, The Younger Lovers, Panty Raid and Midnite Snaxxx. As always, Burger Boogaloo is hosted by director and counterculture hero \u003ca href=\"https://www.kqed.org/arts/13860384/john-waters-talks-microdosing-homelessness-and-cops-in-pride-before-burger-boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo is running a holiday ticket special to celebrate the lineup announcement. \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RM31JAhFT88'\n title='//www.youtube.com/embed/RM31JAhFT88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Fascination, Friendship And Desire: Kathleen Hanna On The Reign Of 'Rebel Girl'",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The radio version of this story includes conversations with campers and counselors at girls’ rock camps, where “Rebel Girl” has become essential listening. Hear the piece at the audio link. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>There’s something contradictory about the very idea of a punk rock anthem. From original snotheads the Sex Pistols to contemporary insurgents Pussy Riot, punk bands kick down norms to make space for new ideas; their music smashes through the rhetoric that often gets people singing choruses en masse. Punk is meant to clear the head, not fill it with sentimental feelings. So it’s notable when a punk song survives its own explosion to become a uniting force for generations beyond its bloody birth. This is the story of “\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">Rebel Girl\u003c/a>,” the 1993 song by the feminist punk band \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> that still echoes through the hearts of girls and women today.\u003c/p>\n\u003cp>Bikini Kill was the emblematic band in the early-1990s riot grrrl movement, which sought to prove that feminism could become a central element within punk and fundamentally change the music in the process. Hanna, with her alarm bell of a voice and kinetic, funny, sometimes cutting presence, became riot grrrl’s most visible torch-bearer. The band stayed together for seven years, releasing a small discography full of nonstop attacks on sexism and celebrations of independence and self-love. Its breakup in 1997 and the eventual waning of riot grrrl felt to many like the inevitable demise of a dream too brilliant to last.\u003c/p>\n\u003cp>https://youtu.be/jfCqCKY5nUc\u003c/p>\n\u003cp>Twenty-plus years after riot grrrl peaked, however, its influence runs even more strongly through punk and the larger independent music world, and “Rebel Girl” is the song that most often signals its continued relevance. As younger artists from \u003ca href=\"https://www.npr.org/artists/465284166/lucy-dacus\">Lucy Dacus\u003c/a> to \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> carry riot grrrl’s messages forward into the new millennium, even younger girls around the world learn Bikini Kill’s anthem — often as part of the introduction to both music and feminism they receive at rock and roll camp.\u003c/p>\n\u003cp>Since the first rock camp for girls was founded by women directly inspired by riot grrrl nearly 20 years ago, these summer enclaves have multiplied around the world; the \u003ca href=\"https://www.girlsrockcampalliance.org/\">Girls’ Rock Camp Alliance\u003c/a> includes members from Buenos Aires to Pittsburgh to Tokyo. Thousands of kids aged 8 to 18 — mostly girls, though a few coed sessions aim to educate boys and welcome non-binary children — form their own bands, write their own songs and encounter riot grrrl’s feminist, anti-racist, LGBTQI-positive principles. And they yell out the inspiring, secretly deep lyrics to “Rebel Girl” in instrument classes and at camp showcases, to instructors and parents who loved it back when and hear it reborn in the voices of the girls they love.\u003c/p>\n\u003cp>Bikini Kill’s members found other ways to do the work they pursued in that band. Kathleen Hanna founded two influential groups, the electronic-based \u003ca href=\"https://www.npr.org/artists/15183638/le-tigre\">Le Tigre\u003c/a> and pop-punkers \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>, finding new ways to explore the intersection of politics and her own subjectivity. She’s proud of riot grrrl’s enduring legacy, especially as it’s flourished at rock camps; in fact, she’s served as a counselor at the Willie Mae Rock Camp in New York.\u003c/p>\n\u003cp>As part of NPR’s \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">American Anthem\u003c/a> series, I spoke with Hanna about the song’s origins and continued resonance. (You can hear the full radio piece, including interviews with girls’ rock campers and counselors, at the audio link on this page.) The story of the song, it turns out, can serve as a pocket history of riot grrrl, a movement that was always as full of love and constructive confusion as it was grounded in revolutionary ideas. Bikini Kill reunited this year for a handful of tour dates in the U.S. and England; “Rebel Girl” became a huge singalong on every date. “It feels great,” Hanna says of singing the song now, to crowds of 5,000 people instead of basements of 10 or 20. “It kind of feels like coming home, but somebody fixed your house up really nice. You know what I mean? Like, we’re not sleeping in the van anymore.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ann Powers: Tell me how the writing of “Rebel Girl” came about. I heard it was inspired by a friend. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Hanna:\u003c/strong> It was inspired by a bunch of friends. Bikini Kill was living in D.C., in this punk house called the Embassy. There was no air conditioning, and we were in the basement just writing songs. Me and Allison Wolfe [of the band Bratmobile] had started doing this group that later became riot grrrl, and it was a bunch of girls talking about starting bands and zines and how we could be feminist in the scene, including doing benefits for other groups that weren’t directly, you know, feminist with a capital “F.” I was also being mentored at the time by the spoken-word artist Juliana Luecking, who has always given me great advice and shown me the ropes as a feminist artist.\u003c/p>\n\u003cp>All of those girls were totally inspiring me, and the riot grrrl thing was inspiring me, and it was really like I just stuck my hand up in the air and there it was. I don’t really feel like I can take credit for writing it — I feel like it just kind of wrote itself.\u003c/p>\n\u003cp>\u003cstrong>I can definitely feel that in how the lyrics shift between various stances. It’s directed at one person narratively, but it is also an embrace that directs itself to anyone it touches. You wrote it as a young adult, but it could be the voice of a young girl — the rhetoric of it, the language of it. Did you feel like you were blending more than one voice in the song?\u003c/strong>\u003c/p>\n\u003cp>I mean, that was like my whole shtick in the ’90s. We were all talking about not being binary, not having a single narrator, all that kind of postmodernist stuff. And so of course, I was really influenced by the idea that identity is fluid. [But] it’s also that childhood, sexy feeling of having a crush on someone, where you don’t really understand what’s happening. … I always liked the older, kind of bitchy girls in my neighborhood, who used to leave me out of things. I wanted to be them, or be like them, or make out with them — I didn’t really know. [With “Rebel Girl”] I was kind of like, “All of the above.”\u003c/p>\n\u003cp>\u003cstrong>To me, the key line is in the chorus, when you sing: “I think wanna take you home / I wanna try on your clothes.” Because “I want to take you home” is a line that’s in every dude rock song, as a come-on. But then, surprise — I’m going to try on your clothes. Tell me about that line.\u003c/strong>\u003c/p>\n\u003cp>We had a thing in Bikini Kill where whoever looked best in an outfit got to keep it. The bad thing about that was, if my suitcase was open, I would come in and find Tobi and Kathi trying on all my clothes. And they looked better in a lot of my clothes than I did! Even if you’d just bought a dress, if someone else put it on and they looked just so great in it, you had to give it to them.\u003c/p>\n\u003cp>[aside postID=pop_111468,arts_13855938,arts_13808185;arts_13808185 label='Read More Bikini Kill Stories']\u003c/p>\n\u003cp>\u003cstrong>When my daughter was in her punk band, they did that. I never knew whose clothes I was washing. \u003c/strong>\u003c/p>\n\u003cp>But actually, when we wrote that song, the band was not getting along very well. And I think that’s really interesting, because there’s this total myth — especially when you have more than one woman in a band — that our friendship being really great is so important for us to be artistically productive. Sometimes our friendship was really bad: We weren’t communicating great, people weren’t adjusting to D.C. very well, I was working a lot. But we still wrote the song that everybody likes the best during that time period.\u003c/p>\n\u003cp>\u003cstrong>I think this correlates really well to what rock camps try to teach girls. At rock camp you have to form a band, and by the end of the week, write a song and perform it on stage. You aren’t necessarily going to get along with the girls in your band — and all those emotions happen in hyperdrive at camp. Twelve-year-old girls are expected to have girl power and be friends and support each other at all times, but then there’s the dark side of that, right? There’s something about “Rebel Girl” that acknowledges that tension and hostility, even within the performance of desire and connection.\u003c/strong>\u003c/p>\n\u003cp>I’m glad to hear that. I mean, the fact I wished things were better with me and Tobi and me and Kathi at that time — I’m sure there was a certain longing that came out in that song, because I missed being super close with them.\u003c/p>\n\u003cp>\u003cstrong>So let’s talk about recording the song, which the band did three times\u003c/strong>: \u003ca href=\"https://youtu.be/nrWYO2ylUFo?t=566\">\u003cstrong>once for a split record\u003c/strong>\u003c/a>\u003cstrong> with the British band Huggy Bear, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8yhk7f0ydq4\">\u003cstrong>once for your album\u003c/strong>\u003c/a> \u003cem>\u003cstrong>Pussy Whipped\u003c/strong>\u003c/em>\u003cstrong>, and a \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">\u003cstrong>single version\u003c/strong>\u003c/a>\u003cstrong> that Joan Jett produced, which is the version that’s most often heard now.\u003c/strong>\u003c/p>\n\u003cp>Third time’s the charm.\u003c/p>\n\u003cp>\u003cstrong>I read an interview where you talked about working with Jett, who of course is an icon of punk and of women in rock, but also her producer Kenny Laguna, who had done a lot of studio and pop work — I think he worked with The Archies. Did that pop side infuse that version of “Rebel Girl”?\u003c/strong>\u003c/p>\n\u003cp>Oh, definitely. I mean, he was in Tommy James and the Shondells. He was in The Shangri-Las for a while. He worked in the Brill Building doing bubblegum songs, like Fruitgum Company-type stuff. And I think that’s what works about the single that doesn’t work about anything else.\u003c/p>\n\u003cp>The song has this raw kind of emotional power. That sounds really cheesy if I’m saying it about my own song, but I’m just going to say it, because who cares. And if you take this song that’s kind of raw and put this bubblegum veneer over it, it creates this tension that is, to me, really electrifying and satisfying. It’s like I’m trying to scream myself out of this beautiful bubble. It needed to be produced like that because it provided a contrast to how raw the material was.\u003c/p>\n\u003cp>\u003cstrong>That also might be one reason why it works so well when a when a 12- to 15-year-old girl gets a hold of it. When you’re 12 you can feel that intense raw feeling about lots of things — about makeup, or about glitter, or about hamburgers. That is a beautiful state of humanity, to be able to feel out of control about something that seems mundane. “Rebel Girl” is about very deep things, but it’s also mixing in those elements of the pop world. It seems to work for that age. \u003c/strong>\u003c/p>\n\u003cp>Well, also, it’s a song about not having to decide. Like, I had a huge crush on my best friend in junior high — I hope she doesn’t hear this — and when she got married, I had a nervous breakdown. Because I realized that in my childhood head I had set out this thing that someday we’d be on a, you know, rocking chair porch together or something. She was my best friend, and I had a super-big crush on her, and I didn’t know how to tell her. And then I just was like, “Well, I can be friends with her \u003cem>and\u003c/em> have a crush on her. It’s fine.”\u003c/p>\n\u003cp>You don’t have to only have a song be about desire, or only be about politics, or only be about a certain kind of love. It can be about a friendship love that also has a sexy element to it. Or if you want to read it a different way, like I’m singing to my girlfriend, fine. I just really like to write songs [with] the idea that you can be a lot of different things at once.\u003c/p>\n\u003cp>\u003cstrong>You’ve told a story about Bikini Kill being in the U.K. with Huggy Bear, where you heard people singing “Rebel Girl” through the wall from backstage. Do you remember this?\u003c/strong>\u003c/p>\n\u003cp>Oh my God, yes. I think there was, like, a bomb threat on the club — because of us, ostensibly. And there were a lot of guys there who were yelling stuff already at the opening band. We were in the dressing room, and we kind of just kept putting more and more makeup on, trying to avoid going downstairs, because we were scared: “Wait, should we cancel? What do we do?”\u003c/p>\n\u003cp>And then the girls in the crowd started singing “Rebel Girl” — like, chanting and clapping. And we just knew exactly what to do: We walked down the stairs and Tobi started playing that beat, and we sang with them. That was the only night that we ever started a show with “Rebel Girl.” And it was [still] a very aggressive, hostile show: There were guys screaming “Show us your t***” and calling us the c-word. I don’t know if we would have come down the stairs without those girls. It was one of those moments that happened in that band once or twice a year where you’re like, “We’re all together in this.” They were saying, “We want you, and we’re going to protect you.”\u003c/p>\n\u003cp>\u003cstrong>I love that you say that they wanted you. But I wonder if you felt in that moment that the song was an instrument of power for these girls, too. It wasn’t just about wanting you — it was about them protecting themselves via the song, in a way. \u003c/strong>\u003c/p>\n\u003cp>It’s a really different song when it’s chanted with no music: It was so much more beautiful, the way that they employed it, than I could ever sing it myself. They were letting us know that they were there, like a kind of Morse code, so we could hear through the floor that they wanted us to come down. Like, the song’s not about that: It’s not about, “Hey, band, please come downstairs and play a show for us.” But that’s what they communicated by the way they sang the song.\u003c/p>\n\u003cfigure id=\"attachment_13863823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg\" alt=\"Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c.jpg 1487w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s. \u003ccite>(Tammy Rae Carland/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You licensed “Rebel Girl” to the video game \u003c/strong>\u003cem>\u003cstrong>Rock Band\u003c/strong>\u003c/em>\u003cstrong> in 2008. In reporting on this song I’ve found it’s used in music education programs all over, not just at girls’ rock camps. I wonder if you think putting the song in that game expanded its reach, where it’s maybe reached girls that wouldn’t have otherwise had a chance to hear it. \u003c/strong>\u003c/p>\n\u003cp>Yes, and that’s exactly why I pushed for it. I just heard a podcast two days ago where the woman — I think she’s in her 20s — started off saying, “The first time I heard Bikini Kill was at my friend’s party, playing \u003cem>Rock Band\u003c/em>.” That was her first foray into the feminism mixing with punk thing, and now she has a podcast about women in music. It worked! Even just that one person.\u003c/p>\n\u003cp>You know what the really big thing is? \u003cem>10 Things I Hate About You\u003c/em>. Heath Ledger’s trying to impress Julia Stiles about his musical taste, and he says “Oh, I’m really into Bikini Kill,” or something like that. That was the sound of girls going onto the internet and checking it out; we got so many fans from that. I mean, I didn’t grow up with parents who listened to alternative or indie music or punk music or anything: We listened to a lot of Lynyrd Skynyrd and Molly Hatchet, me and my sister. So I learned about punk on television.\u003c/p>\n\u003cp>\u003cstrong>What does it feel like to perform the song now, at Bikini Kill’s reunion shows? The song has its own life, and you’ve gone through a lot of changes, done many different musical projects. Can you describe the feeling of playing “Rebel Girl” in 2019?\u003c/strong>\u003c/p>\n\u003cp>It kind of feels like coming home, but somebody fixed your house up really nice. Like, we’re not sleeping in the van anymore. Five thousand people are coming to see us a night, and that wasn’t what it was like for us in the ’90s. And the material feels very fresh, because we just started doing it again.\u003c/p>\n\u003cp>I’ll admit it: By the end of the band I was like, “God, if I have to play ‘Rebel Girl’ one more time … .” We could rotate everything else out, but you start feeling obligated to play the anthemic one, and it can get annoying. Now, 22 years later, it feels totally fresh again. Sometimes it’s about the people in the front row: I’m literally singing it to them, \u003cem>about \u003c/em>them, even though I don’t know them. Because I’m just psyched that they’re there.\u003c/p>\n\u003cp>\u003cstrong>We’re in an interesting turn of the wheel right now on the level of grassroots feminism and the youngest generations: There is this vitality and activism, and the #MeToo movement, and the gender fluidity of teens today that really fulfills and returns to what was happening in the ’90s. But then, of course, it’s also a very rough time politically. Can you talk about what the song might mean in this moment?\u003c/strong>\u003c/p>\n\u003cp>I almost feel like it was more of a dare in the ’90s, like diving off a high dive. Not because you needed a particular prowess to play that song, but because our shows were scary: There were confrontations, things thrown at us, stuff like that. So doing that song always felt like putting my superhero cape on at the end of the show and being like, “See, I showed you. We did it.”\u003c/p>\n\u003cp>Now, it feels more like a celebration. It feels like people are with us. Things really suck in a lot of ways, and we all know what’s going on. But things are also really changing culturally, and that’s a good thing. When we play the song live, a lot of people who do not like how things are going are all in the same room, dancing and celebrating — just having that moment of possibility in such a bad time period. It’s really important to celebrate how quickly things can change.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The radio version of this story includes conversations with campers and counselors at girls’ rock camps, where “Rebel Girl” has become essential listening. Hear the piece at the audio link. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>There’s something contradictory about the very idea of a punk rock anthem. From original snotheads the Sex Pistols to contemporary insurgents Pussy Riot, punk bands kick down norms to make space for new ideas; their music smashes through the rhetoric that often gets people singing choruses en masse. Punk is meant to clear the head, not fill it with sentimental feelings. So it’s notable when a punk song survives its own explosion to become a uniting force for generations beyond its bloody birth. This is the story of “\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">Rebel Girl\u003c/a>,” the 1993 song by the feminist punk band \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> that still echoes through the hearts of girls and women today.\u003c/p>\n\u003cp>Bikini Kill was the emblematic band in the early-1990s riot grrrl movement, which sought to prove that feminism could become a central element within punk and fundamentally change the music in the process. Hanna, with her alarm bell of a voice and kinetic, funny, sometimes cutting presence, became riot grrrl’s most visible torch-bearer. The band stayed together for seven years, releasing a small discography full of nonstop attacks on sexism and celebrations of independence and self-love. Its breakup in 1997 and the eventual waning of riot grrrl felt to many like the inevitable demise of a dream too brilliant to last.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jfCqCKY5nUc'\n title='//www.youtube.com/embed/jfCqCKY5nUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Twenty-plus years after riot grrrl peaked, however, its influence runs even more strongly through punk and the larger independent music world, and “Rebel Girl” is the song that most often signals its continued relevance. As younger artists from \u003ca href=\"https://www.npr.org/artists/465284166/lucy-dacus\">Lucy Dacus\u003c/a> to \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> carry riot grrrl’s messages forward into the new millennium, even younger girls around the world learn Bikini Kill’s anthem — often as part of the introduction to both music and feminism they receive at rock and roll camp.\u003c/p>\n\u003cp>Since the first rock camp for girls was founded by women directly inspired by riot grrrl nearly 20 years ago, these summer enclaves have multiplied around the world; the \u003ca href=\"https://www.girlsrockcampalliance.org/\">Girls’ Rock Camp Alliance\u003c/a> includes members from Buenos Aires to Pittsburgh to Tokyo. Thousands of kids aged 8 to 18 — mostly girls, though a few coed sessions aim to educate boys and welcome non-binary children — form their own bands, write their own songs and encounter riot grrrl’s feminist, anti-racist, LGBTQI-positive principles. And they yell out the inspiring, secretly deep lyrics to “Rebel Girl” in instrument classes and at camp showcases, to instructors and parents who loved it back when and hear it reborn in the voices of the girls they love.\u003c/p>\n\u003cp>Bikini Kill’s members found other ways to do the work they pursued in that band. Kathleen Hanna founded two influential groups, the electronic-based \u003ca href=\"https://www.npr.org/artists/15183638/le-tigre\">Le Tigre\u003c/a> and pop-punkers \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>, finding new ways to explore the intersection of politics and her own subjectivity. She’s proud of riot grrrl’s enduring legacy, especially as it’s flourished at rock camps; in fact, she’s served as a counselor at the Willie Mae Rock Camp in New York.\u003c/p>\n\u003cp>As part of NPR’s \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">American Anthem\u003c/a> series, I spoke with Hanna about the song’s origins and continued resonance. (You can hear the full radio piece, including interviews with girls’ rock campers and counselors, at the audio link on this page.) The story of the song, it turns out, can serve as a pocket history of riot grrrl, a movement that was always as full of love and constructive confusion as it was grounded in revolutionary ideas. Bikini Kill reunited this year for a handful of tour dates in the U.S. and England; “Rebel Girl” became a huge singalong on every date. “It feels great,” Hanna says of singing the song now, to crowds of 5,000 people instead of basements of 10 or 20. “It kind of feels like coming home, but somebody fixed your house up really nice. You know what I mean? Like, we’re not sleeping in the van anymore.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ann Powers: Tell me how the writing of “Rebel Girl” came about. I heard it was inspired by a friend. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Hanna:\u003c/strong> It was inspired by a bunch of friends. Bikini Kill was living in D.C., in this punk house called the Embassy. There was no air conditioning, and we were in the basement just writing songs. Me and Allison Wolfe [of the band Bratmobile] had started doing this group that later became riot grrrl, and it was a bunch of girls talking about starting bands and zines and how we could be feminist in the scene, including doing benefits for other groups that weren’t directly, you know, feminist with a capital “F.” I was also being mentored at the time by the spoken-word artist Juliana Luecking, who has always given me great advice and shown me the ropes as a feminist artist.\u003c/p>\n\u003cp>All of those girls were totally inspiring me, and the riot grrrl thing was inspiring me, and it was really like I just stuck my hand up in the air and there it was. I don’t really feel like I can take credit for writing it — I feel like it just kind of wrote itself.\u003c/p>\n\u003cp>\u003cstrong>I can definitely feel that in how the lyrics shift between various stances. It’s directed at one person narratively, but it is also an embrace that directs itself to anyone it touches. You wrote it as a young adult, but it could be the voice of a young girl — the rhetoric of it, the language of it. Did you feel like you were blending more than one voice in the song?\u003c/strong>\u003c/p>\n\u003cp>I mean, that was like my whole shtick in the ’90s. We were all talking about not being binary, not having a single narrator, all that kind of postmodernist stuff. And so of course, I was really influenced by the idea that identity is fluid. [But] it’s also that childhood, sexy feeling of having a crush on someone, where you don’t really understand what’s happening. … I always liked the older, kind of bitchy girls in my neighborhood, who used to leave me out of things. I wanted to be them, or be like them, or make out with them — I didn’t really know. [With “Rebel Girl”] I was kind of like, “All of the above.”\u003c/p>\n\u003cp>\u003cstrong>To me, the key line is in the chorus, when you sing: “I think wanna take you home / I wanna try on your clothes.” Because “I want to take you home” is a line that’s in every dude rock song, as a come-on. But then, surprise — I’m going to try on your clothes. Tell me about that line.\u003c/strong>\u003c/p>\n\u003cp>We had a thing in Bikini Kill where whoever looked best in an outfit got to keep it. The bad thing about that was, if my suitcase was open, I would come in and find Tobi and Kathi trying on all my clothes. And they looked better in a lot of my clothes than I did! Even if you’d just bought a dress, if someone else put it on and they looked just so great in it, you had to give it to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>When my daughter was in her punk band, they did that. I never knew whose clothes I was washing. \u003c/strong>\u003c/p>\n\u003cp>But actually, when we wrote that song, the band was not getting along very well. And I think that’s really interesting, because there’s this total myth — especially when you have more than one woman in a band — that our friendship being really great is so important for us to be artistically productive. Sometimes our friendship was really bad: We weren’t communicating great, people weren’t adjusting to D.C. very well, I was working a lot. But we still wrote the song that everybody likes the best during that time period.\u003c/p>\n\u003cp>\u003cstrong>I think this correlates really well to what rock camps try to teach girls. At rock camp you have to form a band, and by the end of the week, write a song and perform it on stage. You aren’t necessarily going to get along with the girls in your band — and all those emotions happen in hyperdrive at camp. Twelve-year-old girls are expected to have girl power and be friends and support each other at all times, but then there’s the dark side of that, right? There’s something about “Rebel Girl” that acknowledges that tension and hostility, even within the performance of desire and connection.\u003c/strong>\u003c/p>\n\u003cp>I’m glad to hear that. I mean, the fact I wished things were better with me and Tobi and me and Kathi at that time — I’m sure there was a certain longing that came out in that song, because I missed being super close with them.\u003c/p>\n\u003cp>\u003cstrong>So let’s talk about recording the song, which the band did three times\u003c/strong>: \u003ca href=\"https://youtu.be/nrWYO2ylUFo?t=566\">\u003cstrong>once for a split record\u003c/strong>\u003c/a>\u003cstrong> with the British band Huggy Bear, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8yhk7f0ydq4\">\u003cstrong>once for your album\u003c/strong>\u003c/a> \u003cem>\u003cstrong>Pussy Whipped\u003c/strong>\u003c/em>\u003cstrong>, and a \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">\u003cstrong>single version\u003c/strong>\u003c/a>\u003cstrong> that Joan Jett produced, which is the version that’s most often heard now.\u003c/strong>\u003c/p>\n\u003cp>Third time’s the charm.\u003c/p>\n\u003cp>\u003cstrong>I read an interview where you talked about working with Jett, who of course is an icon of punk and of women in rock, but also her producer Kenny Laguna, who had done a lot of studio and pop work — I think he worked with The Archies. Did that pop side infuse that version of “Rebel Girl”?\u003c/strong>\u003c/p>\n\u003cp>Oh, definitely. I mean, he was in Tommy James and the Shondells. He was in The Shangri-Las for a while. He worked in the Brill Building doing bubblegum songs, like Fruitgum Company-type stuff. And I think that’s what works about the single that doesn’t work about anything else.\u003c/p>\n\u003cp>The song has this raw kind of emotional power. That sounds really cheesy if I’m saying it about my own song, but I’m just going to say it, because who cares. And if you take this song that’s kind of raw and put this bubblegum veneer over it, it creates this tension that is, to me, really electrifying and satisfying. It’s like I’m trying to scream myself out of this beautiful bubble. It needed to be produced like that because it provided a contrast to how raw the material was.\u003c/p>\n\u003cp>\u003cstrong>That also might be one reason why it works so well when a when a 12- to 15-year-old girl gets a hold of it. When you’re 12 you can feel that intense raw feeling about lots of things — about makeup, or about glitter, or about hamburgers. That is a beautiful state of humanity, to be able to feel out of control about something that seems mundane. “Rebel Girl” is about very deep things, but it’s also mixing in those elements of the pop world. It seems to work for that age. \u003c/strong>\u003c/p>\n\u003cp>Well, also, it’s a song about not having to decide. Like, I had a huge crush on my best friend in junior high — I hope she doesn’t hear this — and when she got married, I had a nervous breakdown. Because I realized that in my childhood head I had set out this thing that someday we’d be on a, you know, rocking chair porch together or something. She was my best friend, and I had a super-big crush on her, and I didn’t know how to tell her. And then I just was like, “Well, I can be friends with her \u003cem>and\u003c/em> have a crush on her. It’s fine.”\u003c/p>\n\u003cp>You don’t have to only have a song be about desire, or only be about politics, or only be about a certain kind of love. It can be about a friendship love that also has a sexy element to it. Or if you want to read it a different way, like I’m singing to my girlfriend, fine. I just really like to write songs [with] the idea that you can be a lot of different things at once.\u003c/p>\n\u003cp>\u003cstrong>You’ve told a story about Bikini Kill being in the U.K. with Huggy Bear, where you heard people singing “Rebel Girl” through the wall from backstage. Do you remember this?\u003c/strong>\u003c/p>\n\u003cp>Oh my God, yes. I think there was, like, a bomb threat on the club — because of us, ostensibly. And there were a lot of guys there who were yelling stuff already at the opening band. We were in the dressing room, and we kind of just kept putting more and more makeup on, trying to avoid going downstairs, because we were scared: “Wait, should we cancel? What do we do?”\u003c/p>\n\u003cp>And then the girls in the crowd started singing “Rebel Girl” — like, chanting and clapping. And we just knew exactly what to do: We walked down the stairs and Tobi started playing that beat, and we sang with them. That was the only night that we ever started a show with “Rebel Girl.” And it was [still] a very aggressive, hostile show: There were guys screaming “Show us your t***” and calling us the c-word. I don’t know if we would have come down the stairs without those girls. It was one of those moments that happened in that band once or twice a year where you’re like, “We’re all together in this.” They were saying, “We want you, and we’re going to protect you.”\u003c/p>\n\u003cp>\u003cstrong>I love that you say that they wanted you. But I wonder if you felt in that moment that the song was an instrument of power for these girls, too. It wasn’t just about wanting you — it was about them protecting themselves via the song, in a way. \u003c/strong>\u003c/p>\n\u003cp>It’s a really different song when it’s chanted with no music: It was so much more beautiful, the way that they employed it, than I could ever sing it myself. They were letting us know that they were there, like a kind of Morse code, so we could hear through the floor that they wanted us to come down. Like, the song’s not about that: It’s not about, “Hey, band, please come downstairs and play a show for us.” But that’s what they communicated by the way they sang the song.\u003c/p>\n\u003cfigure id=\"attachment_13863823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg\" alt=\"Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c.jpg 1487w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s. \u003ccite>(Tammy Rae Carland/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You licensed “Rebel Girl” to the video game \u003c/strong>\u003cem>\u003cstrong>Rock Band\u003c/strong>\u003c/em>\u003cstrong> in 2008. In reporting on this song I’ve found it’s used in music education programs all over, not just at girls’ rock camps. I wonder if you think putting the song in that game expanded its reach, where it’s maybe reached girls that wouldn’t have otherwise had a chance to hear it. \u003c/strong>\u003c/p>\n\u003cp>Yes, and that’s exactly why I pushed for it. I just heard a podcast two days ago where the woman — I think she’s in her 20s — started off saying, “The first time I heard Bikini Kill was at my friend’s party, playing \u003cem>Rock Band\u003c/em>.” That was her first foray into the feminism mixing with punk thing, and now she has a podcast about women in music. It worked! Even just that one person.\u003c/p>\n\u003cp>You know what the really big thing is? \u003cem>10 Things I Hate About You\u003c/em>. Heath Ledger’s trying to impress Julia Stiles about his musical taste, and he says “Oh, I’m really into Bikini Kill,” or something like that. That was the sound of girls going onto the internet and checking it out; we got so many fans from that. I mean, I didn’t grow up with parents who listened to alternative or indie music or punk music or anything: We listened to a lot of Lynyrd Skynyrd and Molly Hatchet, me and my sister. So I learned about punk on television.\u003c/p>\n\u003cp>\u003cstrong>What does it feel like to perform the song now, at Bikini Kill’s reunion shows? The song has its own life, and you’ve gone through a lot of changes, done many different musical projects. Can you describe the feeling of playing “Rebel Girl” in 2019?\u003c/strong>\u003c/p>\n\u003cp>It kind of feels like coming home, but somebody fixed your house up really nice. Like, we’re not sleeping in the van anymore. Five thousand people are coming to see us a night, and that wasn’t what it was like for us in the ’90s. And the material feels very fresh, because we just started doing it again.\u003c/p>\n\u003cp>I’ll admit it: By the end of the band I was like, “God, if I have to play ‘Rebel Girl’ one more time … .” We could rotate everything else out, but you start feeling obligated to play the anthemic one, and it can get annoying. Now, 22 years later, it feels totally fresh again. Sometimes it’s about the people in the front row: I’m literally singing it to them, \u003cem>about \u003c/em>them, even though I don’t know them. Because I’m just psyched that they’re there.\u003c/p>\n\u003cp>\u003cstrong>We’re in an interesting turn of the wheel right now on the level of grassroots feminism and the youngest generations: There is this vitality and activism, and the #MeToo movement, and the gender fluidity of teens today that really fulfills and returns to what was happening in the ’90s. But then, of course, it’s also a very rough time politically. Can you talk about what the song might mean in this moment?\u003c/strong>\u003c/p>\n\u003cp>I almost feel like it was more of a dare in the ’90s, like diving off a high dive. Not because you needed a particular prowess to play that song, but because our shows were scary: There were confrontations, things thrown at us, stuff like that. So doing that song always felt like putting my superhero cape on at the end of the show and being like, “See, I showed you. We did it.”\u003c/p>\n\u003cp>Now, it feels more like a celebration. It feels like people are with us. Things really suck in a lot of ways, and we all know what’s going on. But things are also really changing culturally, and that’s a good thing. When we play the song live, a lot of people who do not like how things are going are all in the same room, dancing and celebrating — just having that moment of possibility in such a bad time period. It’s really important to celebrate how quickly things can change.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
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},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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},
"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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