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"disqusTitle": "For Children At The Bikini Kill Reunion, 'Revolution Girl Style Now' Is Finally A Reality",
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"content": "\u003cp>On April 26, at the second show of Bikini Kill's much-anticipated reunion tour, one of the most immediately noticeable things was just how many children were gleefully running around. They were overwhelmingly female, visibly thrilled to be there, and a lot of them already knew the songs.\u003c/p>\n\u003cp>One little girl, roughly seven or eight years old, sat atop a man's shoulders in the middle of the pit, waving her arms and headbanging. Another, nine or ten, watching from a balcony above the stage, grabbed her dad's hand whenever her favorite songs came on and used him as leverage to jump up and down, roughly shaking her head from side-to-side.\u003c/p>\n\u003cp>After Bikini Kill was done with their opening song (\"This is Not a Test\"), frontwoman Kathleen Hanna stopped to check on some little girls in the front row, concerned they might be getting hurt. (They were fine, apparently.) \"It looks like you're doing a really good job of Girls To The Front,\" Hanna quipped. \"I don't even have to say anything...\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=It0LB6OZuEo\u003c/p>\n\u003cp>On one hand, it makes perfect sense. Original Bikini Kill fans are now of an age where having young children is to be expected. But when the quartet first emerged in the early '90s, the content of their songs was considered pretty shocking, even for a teen audience. \"Suck My Left One\" features familial sexual abuse; \"Carnival\" starts with the line \"This is a song about 16-year-old girls giving carnies head for free rides and hits of pot\"; and \"I Like F**king\" embraces unapologetically assertive female sexuality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the number of kids in attendance at the Hollywood Palladium in Los Angeles seemed planned for by the band. While Bikini Kill's first night featured support from sexagenarian punk icon Alice Bag, the second night's opener was The Linda Lindas—four pre-teen girls specializing in rock 'n' roll covers, including Kim Wilde, The Runaways and Le Tigre. The band wasn't just proficient, their music sounded like it was the work of professional adults, despite having a drummer who looked about three-feet-tall and a vocalist who literally cartwheeled off the stage. The crowd reception was warm and, during Bikini Kill's set, Kathleen Hanna made no less than three references to The Linda Lindas. \"I'm going to keep talking about them,\" she said, apologizing for not apologizing.\u003c/p>\n\u003cp>Here are the Linda Lindas backstage with Bikini Kill, on a night that will no doubt be impossible to describe to their middle school teachers.\u003c/p>\n\u003cp>https://www.instagram.com/p/BwxR7Smhste/\u003c/p>\n\u003cp>Bikini Kill's original audience was mostly comprised of feminist teenage girls sick of being lied to by grown-ups and furious about the lack of space afforded to female rock musicians. Back then, both band and fans embraced the traditional aesthetics of girl children—cute little shift dresses and barrettes—as a means to reclaim childhoods corrupted by societal sexualization that occurred far too early.\u003c/p>\n\u003cp>These days, the new generation embracing Bikini Kill are kids with cool parents, who no longer need to fight for space and have an inherent understanding of their rightful place in the room. Kids that are more sophisticated because of technology, and simultaneously more sheltered because of it. It's probable that the youngest of these children aren't paying much attention to lyrical details; it's enough to see a bunch of women making all of this glorious, freeing noise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This particular Bikini Kill show was full of signifiers of the social progress made in the quarter century since the band originally split—the number of men and gender non-conforming people in the room represents another shift—but it was the kids who made it feel like the band's dream is actually finally being realized. These days, Revolution Girl Style Now is looking less like a future ideal and more like a reality.\u003c/p>\n\n",
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"excerpt": "With an all-girl tween support band and a large number of children attending their reunion shows, Bikini Kill is witnessing a new generation use their music to do the things they could not. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On April 26, at the second show of Bikini Kill's much-anticipated reunion tour, one of the most immediately noticeable things was just how many children were gleefully running around. They were overwhelmingly female, visibly thrilled to be there, and a lot of them already knew the songs.\u003c/p>\n\u003cp>One little girl, roughly seven or eight years old, sat atop a man's shoulders in the middle of the pit, waving her arms and headbanging. Another, nine or ten, watching from a balcony above the stage, grabbed her dad's hand whenever her favorite songs came on and used him as leverage to jump up and down, roughly shaking her head from side-to-side.\u003c/p>\n\u003cp>After Bikini Kill was done with their opening song (\"This is Not a Test\"), frontwoman Kathleen Hanna stopped to check on some little girls in the front row, concerned they might be getting hurt. (They were fine, apparently.) \"It looks like you're doing a really good job of Girls To The Front,\" Hanna quipped. \"I don't even have to say anything...\"\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/It0LB6OZuEo'\n title='//www.youtube.com/embed/It0LB6OZuEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On one hand, it makes perfect sense. Original Bikini Kill fans are now of an age where having young children is to be expected. But when the quartet first emerged in the early '90s, the content of their songs was considered pretty shocking, even for a teen audience. \"Suck My Left One\" features familial sexual abuse; \"Carnival\" starts with the line \"This is a song about 16-year-old girls giving carnies head for free rides and hits of pot\"; and \"I Like F**king\" embraces unapologetically assertive female sexuality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bikini Kill's original audience was mostly comprised of feminist teenage girls sick of being lied to by grown-ups and furious about the lack of space afforded to female rock musicians. Back then, both band and fans embraced the traditional aesthetics of girl children—cute little shift dresses and barrettes—as a means to reclaim childhoods corrupted by societal sexualization that occurred far too early.\u003c/p>\n\u003cp>These days, the new generation embracing Bikini Kill are kids with cool parents, who no longer need to fight for space and have an inherent understanding of their rightful place in the room. Kids that are more sophisticated because of technology, and simultaneously more sheltered because of it. It's probable that the youngest of these children aren't paying much attention to lyrical details; it's enough to see a bunch of women making all of this glorious, freeing noise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This particular Bikini Kill show was full of signifiers of the social progress made in the quarter century since the band originally split—the number of men and gender non-conforming people in the room represents another shift—but it was the kids who made it feel like the band's dream is actually finally being realized. These days, Revolution Girl Style Now is looking less like a future ideal and more like a reality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Groupie Myth: How Teens Are Exploited Both On the Road and Online",
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"content": "\u003cp>In 1993, I was 14-years-old and the kind of fervently enthusiastic music fan that goes on to write about it for a living. One night, after attending a concert featuring two prominent metal bands, my best friend and I stood outside the front entrance of the arena and waited for her dad to pick us up. As we excitedly dissected the evening’s events, we were approached by a grizzled-looking man in requisite rock 'n' roll clothing, an all-access pass hanging from his belt loop.\u003c/p>\n\u003cp>“You girls wanna meet the bands?” he asked.\u003c/p>\n\u003cp>My friend and I looked at each other, bemused.\u003c/p>\n\u003cp>“Well… yeah…” my friend replied, hesitant, but not wanting to miss out on a golden opportunity.\u003c/p>\n\u003cp>“Alright,” this man -- probably in his mid-40s -- replied. “Follow me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hang on,” I said. “What do \u003cem>you\u003c/em> get out of this?”\u003c/p>\n\u003cp>Without any hesitation, he smirked, nodded and pointed to his groin. I linked arms with my friend, who, like me, had visibly recoiled, and said, “Uhhh, NO.”\u003c/p>\n\u003cp>“Suit yourselves!” he snapped back and went off in search of other, less prudish schoolgirls.\u003c/p>\n\u003cp>Five minutes later, we were safely in the back of my friend’s dad’s car and on our way home. We never told any adults about the incident -- certainly not our parents, who fearfully might have stopped us from going to any more concerts -- and we barely discussed it with each other, because thinking about it creeped us out.\u003c/p>\n\u003cp>It was my first experience of the kind of exploitation that routinely takes place on the road. At the time, despite my youth, I knew all about groupies. I knew that as a female in this particular music scene, I was in a minority. And I knew that I might sometimes be targeted by creepy older men. But when it actually happened in real life, it was an infinitely more intimidating experience than I had bargained for.\u003c/p>\n\u003cp>A couple of months later, while squeezed into the crowd of a (to this day) well-respected alternative band, my friend was sexually assaulted by an older boy. She told me afterwards that she was trapped and scared and froze when this stranger’s hand climbed up her skirt because he was so much bigger than her. If you know any women who grew up going to shows in their teens, you will be hard pressed to find one who hasn’t experienced the wandering hands of a fellow audience member.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LU1bEeKsHs8\u003c/p>\n\u003cp>Assault at shows is an issue that has been publicly discussed since riot grrrl first shone a light on it in the early 1990s. This reached its peak in 1999 when the \u003ca href=\"http://www.mtv.com/news/516319/two-woodstock-fans-allegedly-raped-in-mosh-pits/\">chaos of Woodstock\u003c/a> resulted in numerous sexual assault reports and a number of rape allegations from audience members. More recently, in 2015, five teenage girls in the U.K. started \u003ca href=\"http://www.dazeddigital.com/music/article/28377/1/meet-the-teen-girls-fighting-sexual-assault-at-music-venues\">#GirlsAgainst\u003c/a> to highlight the fact that this problem is ongoing. Just last year, 26 women reported being assaulted at the \u003ca href=\"http://www.cnn.com/2016/06/01/europe/germany-concert-sex-assaults/\">Schlossgrabenfest music festival\u003c/a> in Germany.\u003c/p>\n\u003cp>It’s not talked about all that often, but the risks facing women and girls who like live music are not limited to fellow audience members. There is a culture of silence in this male-dominated industry that, in my 18 years of journalistic experience on the road and backstage, has shocked me.\u003c/p>\n\u003cp>I once saw two girls pretend to faint at a pop-punk show in England, in order to get backstage. They succeeded. I happened to walk into a room after the show, where they were laughing about how clever they had been. I asked them how old they were. “Eighteen,” the chorus came back, but their undeveloped bodies and nervous giggling told a different story. After making out with each other for the entertainment of the headlining band, they were ushered into separate rooms by a singer and a drummer on the tour. I am not clear about what happened behind those closed doors, but I would hazard a guess that it probably wasn’t legal.\u003c/p>\n\u003cp>I have seen similar scenes play out, backstage at festivals all over the world, while tents are being broken down and gear loaded out. There are bands who are vigilant, who will politely shoo these girls away and call out other bands on the bill who don’t carry the same sympathy for, and sexual aversion to, underage girls. These bands are, thankfully, in the majority. But, in my experience, if you line up 10 tour buses, there are probably going to be a couple of people (sometimes crew members), who have no qualms about taking advantage of naïve fandom when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_61198\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"wp-image-61198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/watkins-1020x1009.png\" alt=\"watkins\" width=\"300\" height=\"297\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1020x1009.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-160x158.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-800x791.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-768x759.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1920x1899.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1180x1167.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-960x949.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-240x237.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-375x371.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-520x514.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-150x150.png 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ian Watkins, vocalist, convicted sex offender\u003c/figcaption>\u003c/figure>\n\u003cp>When Lostprophets frontman, Ian Watkins, was convicted of \u003ca href=\"https://www.theguardian.com/uk-news/2013/dec/18/ian-watkins-jailed-child-sex-crimes\">a litany of child sex offences\u003c/a> in 2013, the focus was on the fact that the case horrifyingly involved two infants, whose mothers had been targeted by Watkins as “superfans” and ultimately were complicit in, and convicted of, the abuse of their own children. Watkins was also convicted of carrying out (and filming) degrading sex acts on a teenage fan, who had been an underage virgin at the time.\u003c/p>\n\u003cp>The issues surrounding bands and groupies are complex and frequently rooted in a culture that tells rock musicians that it's their right, and tells young women that their greatest commodity -- their easiest “in” -- is their bodies and their sexuality. Romanticized depictions of groupies in TV and movies (Showtime’s \u003cem>\u003ca href=\"http://www.sho.com/roadies\">Roadies\u003c/a> \u003c/em>was a recent offender) continue to perpetuate the idea that groupies are beloved and essential; that women can get in on the excitement of being on the road, if only they’ll give it up. In reality, groupies are often mocked by the band the second they’ve been ushered off the bus.\u003c/p>\n\u003cp>On one occasion nine years ago, I was traveling with an emo band in Europe. As the venue cleared out, I went to use the ladies' room and found a girl crying by the sinks. I asked if she was okay.\u003c/p>\n\u003cp>“No one asked me backstage,” she sobbed. “I really wanted to meet the band, so I dressed like this…” -- skin-tight, hip-hugging jeans, push-up bra and a cropped top; a lot of make-up for a face so fresh -- “…but still no one noticed me.”\u003c/p>\n\u003cp>“The reason you weren’t asked backstage,” I gently explained, “was because this band are good people. The only thing going on back there is eating, email-checking, and girlfriend-Skyping. You’re not missing anything, I promise.”\u003c/p>\n\u003cp>“I still wanted to be asked,” she wept.\u003c/p>\n\u003cp>“How old are you?”\u003c/p>\n\u003cp>“Fifteen.”\u003c/p>\n\u003cp>A mere 10 minutes of telling this girl that there were other ways to participate in this scene that didn’t involve her body, she had stopped crying, started to mull over the possibilities of becoming a music photographer, and was ready to go home. If this had been a different band and a different concert, her evening could have ended very differently.\u003c/p>\n\u003cp>In the digital age, a brand new form of fan exploitation has emerged, and it doesn’t even require fans to leave the house. Just this week, YouTube star \u003ca href=\"http://www.huffingtonpost.com/entry/youtube-singing-star-austin-jones-faces-child-pornography-charges_us_594101bfe4b0d3185485fb0a\">Austin Jones was arrested\u003c/a> on two counts of producing child pornography, after he allegedly requested sexually explicit material from underage fans, via Facebook.\u003c/p>\n\u003cp>Back in January, a Boston man named \u003ca href=\"http://www.billboard.com/articles/news/7655473/man-posed-justin-bieber-extort-nude-photos\">Bryan Asrary was arrested\u003c/a> after nude photos of a 9-year-old girl were found on his laptop and cellphone. He is alleged to have impersonated Justin Bieber online in order get them.\u003c/p>\n\u003cp>Similarly, traveling punk festival Warped Tour was plagued with problems in 2015 after allowing then-23-year-old Jake McElfresh (a.k.a. Front Porch Step) onto the bill, even though multiple underage, teenage girls had \u003ca href=\"http://www.billboard.com/front-porch-step-jacob-mcelfresh-warped-tour-sexual-misconduct-underage-sexting-kevin-lyman\">complained online\u003c/a> about McElfresh’s lewd behavior towards them. These girls, scattered around the country, posted messages and explicit photos, allegedly from McElfresh, to their Tumblr accounts, having grown uncomfortable with the contact.\u003c/p>\n\u003cp>Today, most of the public concern expressed and discussed around this subject is focused on the online dangers facing children and teenagers. What those discussions so often fail to acknowledge is that the link between music and fan exploitation has always been there, and that the myth of the in-control, gleeful groupie is a frequently false one.\u003c/p>\n\u003cp>Certainly, the internet age does offer new and horrifying forms of exploitation, but it also leaves digital fingerprints, evidence, screenshots, and, like never before, a means to expose and convict the people who take advantage of music fans in sexual ways. The culture that encourages these uneasy and sometimes illegal relationships between musicians and fans needs a major reset -- one that we may finally be making steps towards in the wake of Austin Jones' and Brian Asrary’s arrests, McElfresh’s public humiliation, and the universal revulsion that greeted Watkins’ case.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, we should be grateful that the digital age finally offers us a means to prove these predators exist, and do something about it -- something my best friend and I would have been eternally grateful for back in 1993.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1993, I was 14-years-old and the kind of fervently enthusiastic music fan that goes on to write about it for a living. One night, after attending a concert featuring two prominent metal bands, my best friend and I stood outside the front entrance of the arena and waited for her dad to pick us up. As we excitedly dissected the evening’s events, we were approached by a grizzled-looking man in requisite rock 'n' roll clothing, an all-access pass hanging from his belt loop.\u003c/p>\n\u003cp>“You girls wanna meet the bands?” he asked.\u003c/p>\n\u003cp>My friend and I looked at each other, bemused.\u003c/p>\n\u003cp>“Well… yeah…” my friend replied, hesitant, but not wanting to miss out on a golden opportunity.\u003c/p>\n\u003cp>“Alright,” this man -- probably in his mid-40s -- replied. “Follow me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hang on,” I said. “What do \u003cem>you\u003c/em> get out of this?”\u003c/p>\n\u003cp>Without any hesitation, he smirked, nodded and pointed to his groin. I linked arms with my friend, who, like me, had visibly recoiled, and said, “Uhhh, NO.”\u003c/p>\n\u003cp>“Suit yourselves!” he snapped back and went off in search of other, less prudish schoolgirls.\u003c/p>\n\u003cp>Five minutes later, we were safely in the back of my friend’s dad’s car and on our way home. We never told any adults about the incident -- certainly not our parents, who fearfully might have stopped us from going to any more concerts -- and we barely discussed it with each other, because thinking about it creeped us out.\u003c/p>\n\u003cp>It was my first experience of the kind of exploitation that routinely takes place on the road. At the time, despite my youth, I knew all about groupies. I knew that as a female in this particular music scene, I was in a minority. And I knew that I might sometimes be targeted by creepy older men. But when it actually happened in real life, it was an infinitely more intimidating experience than I had bargained for.\u003c/p>\n\u003cp>A couple of months later, while squeezed into the crowd of a (to this day) well-respected alternative band, my friend was sexually assaulted by an older boy. She told me afterwards that she was trapped and scared and froze when this stranger’s hand climbed up her skirt because he was so much bigger than her. If you know any women who grew up going to shows in their teens, you will be hard pressed to find one who hasn’t experienced the wandering hands of a fellow audience member.\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/LU1bEeKsHs8'\n title='//www.youtube.com/embed/LU1bEeKsHs8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Assault at shows is an issue that has been publicly discussed since riot grrrl first shone a light on it in the early 1990s. This reached its peak in 1999 when the \u003ca href=\"http://www.mtv.com/news/516319/two-woodstock-fans-allegedly-raped-in-mosh-pits/\">chaos of Woodstock\u003c/a> resulted in numerous sexual assault reports and a number of rape allegations from audience members. More recently, in 2015, five teenage girls in the U.K. started \u003ca href=\"http://www.dazeddigital.com/music/article/28377/1/meet-the-teen-girls-fighting-sexual-assault-at-music-venues\">#GirlsAgainst\u003c/a> to highlight the fact that this problem is ongoing. Just last year, 26 women reported being assaulted at the \u003ca href=\"http://www.cnn.com/2016/06/01/europe/germany-concert-sex-assaults/\">Schlossgrabenfest music festival\u003c/a> in Germany.\u003c/p>\n\u003cp>It’s not talked about all that often, but the risks facing women and girls who like live music are not limited to fellow audience members. There is a culture of silence in this male-dominated industry that, in my 18 years of journalistic experience on the road and backstage, has shocked me.\u003c/p>\n\u003cp>I once saw two girls pretend to faint at a pop-punk show in England, in order to get backstage. They succeeded. I happened to walk into a room after the show, where they were laughing about how clever they had been. I asked them how old they were. “Eighteen,” the chorus came back, but their undeveloped bodies and nervous giggling told a different story. After making out with each other for the entertainment of the headlining band, they were ushered into separate rooms by a singer and a drummer on the tour. I am not clear about what happened behind those closed doors, but I would hazard a guess that it probably wasn’t legal.\u003c/p>\n\u003cp>I have seen similar scenes play out, backstage at festivals all over the world, while tents are being broken down and gear loaded out. There are bands who are vigilant, who will politely shoo these girls away and call out other bands on the bill who don’t carry the same sympathy for, and sexual aversion to, underage girls. These bands are, thankfully, in the majority. But, in my experience, if you line up 10 tour buses, there are probably going to be a couple of people (sometimes crew members), who have no qualms about taking advantage of naïve fandom when the opportunity presents itself.\u003c/p>\n\u003cfigure id=\"attachment_61198\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"wp-image-61198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/watkins-1020x1009.png\" alt=\"watkins\" width=\"300\" height=\"297\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1020x1009.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-160x158.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-800x791.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-768x759.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1920x1899.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-1180x1167.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-960x949.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-240x237.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-375x371.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-520x514.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/watkins-150x150.png 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Ian Watkins, vocalist, convicted sex offender\u003c/figcaption>\u003c/figure>\n\u003cp>When Lostprophets frontman, Ian Watkins, was convicted of \u003ca href=\"https://www.theguardian.com/uk-news/2013/dec/18/ian-watkins-jailed-child-sex-crimes\">a litany of child sex offences\u003c/a> in 2013, the focus was on the fact that the case horrifyingly involved two infants, whose mothers had been targeted by Watkins as “superfans” and ultimately were complicit in, and convicted of, the abuse of their own children. Watkins was also convicted of carrying out (and filming) degrading sex acts on a teenage fan, who had been an underage virgin at the time.\u003c/p>\n\u003cp>The issues surrounding bands and groupies are complex and frequently rooted in a culture that tells rock musicians that it's their right, and tells young women that their greatest commodity -- their easiest “in” -- is their bodies and their sexuality. Romanticized depictions of groupies in TV and movies (Showtime’s \u003cem>\u003ca href=\"http://www.sho.com/roadies\">Roadies\u003c/a> \u003c/em>was a recent offender) continue to perpetuate the idea that groupies are beloved and essential; that women can get in on the excitement of being on the road, if only they’ll give it up. In reality, groupies are often mocked by the band the second they’ve been ushered off the bus.\u003c/p>\n\u003cp>On one occasion nine years ago, I was traveling with an emo band in Europe. As the venue cleared out, I went to use the ladies' room and found a girl crying by the sinks. I asked if she was okay.\u003c/p>\n\u003cp>“No one asked me backstage,” she sobbed. “I really wanted to meet the band, so I dressed like this…” -- skin-tight, hip-hugging jeans, push-up bra and a cropped top; a lot of make-up for a face so fresh -- “…but still no one noticed me.”\u003c/p>\n\u003cp>“The reason you weren’t asked backstage,” I gently explained, “was because this band are good people. The only thing going on back there is eating, email-checking, and girlfriend-Skyping. You’re not missing anything, I promise.”\u003c/p>\n\u003cp>“I still wanted to be asked,” she wept.\u003c/p>\n\u003cp>“How old are you?”\u003c/p>\n\u003cp>“Fifteen.”\u003c/p>\n\u003cp>A mere 10 minutes of telling this girl that there were other ways to participate in this scene that didn’t involve her body, she had stopped crying, started to mull over the possibilities of becoming a music photographer, and was ready to go home. If this had been a different band and a different concert, her evening could have ended very differently.\u003c/p>\n\u003cp>In the digital age, a brand new form of fan exploitation has emerged, and it doesn’t even require fans to leave the house. Just this week, YouTube star \u003ca href=\"http://www.huffingtonpost.com/entry/youtube-singing-star-austin-jones-faces-child-pornography-charges_us_594101bfe4b0d3185485fb0a\">Austin Jones was arrested\u003c/a> on two counts of producing child pornography, after he allegedly requested sexually explicit material from underage fans, via Facebook.\u003c/p>\n\u003cp>Back in January, a Boston man named \u003ca href=\"http://www.billboard.com/articles/news/7655473/man-posed-justin-bieber-extort-nude-photos\">Bryan Asrary was arrested\u003c/a> after nude photos of a 9-year-old girl were found on his laptop and cellphone. He is alleged to have impersonated Justin Bieber online in order get them.\u003c/p>\n\u003cp>Similarly, traveling punk festival Warped Tour was plagued with problems in 2015 after allowing then-23-year-old Jake McElfresh (a.k.a. Front Porch Step) onto the bill, even though multiple underage, teenage girls had \u003ca href=\"http://www.billboard.com/front-porch-step-jacob-mcelfresh-warped-tour-sexual-misconduct-underage-sexting-kevin-lyman\">complained online\u003c/a> about McElfresh’s lewd behavior towards them. These girls, scattered around the country, posted messages and explicit photos, allegedly from McElfresh, to their Tumblr accounts, having grown uncomfortable with the contact.\u003c/p>\n\u003cp>Today, most of the public concern expressed and discussed around this subject is focused on the online dangers facing children and teenagers. What those discussions so often fail to acknowledge is that the link between music and fan exploitation has always been there, and that the myth of the in-control, gleeful groupie is a frequently false one.\u003c/p>\n\u003cp>Certainly, the internet age does offer new and horrifying forms of exploitation, but it also leaves digital fingerprints, evidence, screenshots, and, like never before, a means to expose and convict the people who take advantage of music fans in sexual ways. The culture that encourages these uneasy and sometimes illegal relationships between musicians and fans needs a major reset -- one that we may finally be making steps towards in the wake of Austin Jones' and Brian Asrary’s arrests, McElfresh’s public humiliation, and the universal revulsion that greeted Watkins’ case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, we should be grateful that the digital age finally offers us a means to prove these predators exist, and do something about it -- something my best friend and I would have been eternally grateful for back in 1993.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'90s Nostalgia: A Look at How Our Lives Do and Don't Matter",
"title": "'90s Nostalgia: A Look at How Our Lives Do and Don't Matter",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_14103\" class=\"wp-caption aligncenter\" style=\"max-width: 563px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/riot-grrrl-zines.jpg\">\u003cimg class=\"wp-image-14103 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/riot-grrrl-zines.jpg\" alt=\"Riot Grrrl zines from ALIEN SHE. At Yerba Buena Center for the Arts. Photo by Laura Schadler.\" width=\"563\" height=\"563\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines.jpg 563w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-75x75.jpg 75w\" sizes=\"(max-width: 563px) 100vw, 563px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riot Grrrl zines from ALIEN SHE, Yerba Buena Center for the Arts. Photo by Laura Schadler.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.npr.org/blogs/monkeysee/2012/04/18/150876971/nostalgia-is-anywhere-but-here\">Nostalgia\u003c/a> is a sentimental, incomplete idea. Our human patterns of emotion, recognition, self-awareness and desire seem far stranger and more difficult to understand than mere wistfulness. However, the ‘90s are certainly having their nostalgic moment right now.\u003c/p>\n\u003cp>From 1990 to 1999, I was 11-20, my entire adolescence comprised of the art, music, fashion, politics, ethos and aesthetic of that time. Its resurgence, Urban Outfitters babydoll dresses and Doc Martens notwithstanding, is unsurprisingly quite compelling to me. There's been talk lately of \u003ca href=\"http://www.newyorker.com/magazine/2012/04/23/the-forty-year-itch\">the cycles of nostalgia\u003c/a>, our romanticizing of the time right before we were born and/or for the time we came of age. I wonder if these cycles are looping us back around to something more existentially provocative, not merely a wish, but an attempt to understand the passage of time, our place within it, what matters, what lasts, and why.\u003c/p>\n\u003cp>Last night, I saw \u003ca href=\"http://floodmagazine.com/3585/watch-j-mascis-covers-mazzy-stars-fade-into-you/\">J Mascis\u003c/a> play a sold out show at The Independent. Granted, his encore was a Dinosaur Jr. song that sort of broke my heart, calling out to the 15-year-old parts of me still alive and well. But the bulk of his material was new, with the energy and intensity of a musician not relying on his previously established reputation. I leaned over to my friend and said, \"When his voice goes high like that, I feel my whole life.\" My \u003cem>whole\u003c/em> life...not just the past, but certainly my life given depth by the past, by where it now intrudes, evolves and somehow, mysteriously, becomes the present.\u003c/p>\n\u003cp>http://youtu.be/v4Xva7X69Os\u003c/p>\n\u003cp>We all think our time on Earth is the most important. Every generation believes theirs is the one that will get to see the apocalypse. It's that dire, that essential. Annie Dillard writes of this strange human belief in her gorgeous book, \u003cem>For the Time Being, \u003c/em>which ruminates on the misplaced confidence we have in our individual egos, as they exist amongst the incomprehensible vastness of all other people and all of history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>“Are not our generations the crucial ones? For we have changed the world. Are not our heightened times the important ones?...Are we not especially significant because our century is?...No, we are not and it is not. These times of ours are ordinary times...Who can bear to hear this, or who will consider it?\"\u003c/em>\u003c/p>\n\u003cp>The really interesting part is when we have lived long enough to bear hearing it, to consider it, to see just the tiniest flicker of the larger context, alongside the blinding subjectivity of our daily existence. We can begin to see that our lives, the surrounding cultures and subcultures that build, inspire, and support those lives are beautiful, essential, unknowable and fleeting. Somewhere in the mix comes this attempt to look back, to orient ourselves. Where are we? This strange year, this singular present moment, this contemporary time that occasionally seems so unfamiliar, so futuristic. And where were we before? This is not nostalgia, this is the most profound navigation, an attempt at narrative.\u003c/p>\n\u003cp>Last weekend, I saw \u003ca href=\"http://ybca.org/curators-statement-alien-she\">ALIEN SHE\u003c/a> at Yerba Buena Center for the Arts, an exhibit that examines the lasting impact of Riot Grrrl through archival ephemera, as well as a collection of contemporary works by artists who draw their influence from Riot Grrrl. What an intimate and unmoored feeling it is, at age 35, to see the counter-culture of my youth, these early ingredients of my very self on display with placards offering up dates and explanations. Aside from not being able to touch anything, the museum might well have been my high school bedroom. And, in many ways, Riot Grrrl was about our high school bedrooms, the stories written there, the music born there, the sensations of being a girl felt there, the tangible creative results that manifested.\u003c/p>\n\u003cp>http://youtu.be/3kDzHDBjyZA\u003c/p>\n\u003cp>As a teenager, I wrote BITCH on my stomach and went to a party wearing a beret and ripped up stockings. I can't imagine I fully understood the complex combinations of powerful and sexy this outfit inspired in me or why that mattered. But I marvel now at how lucky I was to have the images and language of this particular type of feminism available to me. That snarl and cuteness were ways we could be, an invitation to inhabit contradiction. \u003ca href=\"http://vimeo.com/19060637\">\"Dude, babe, sir,\"\u003c/a> my sister and I joked, mimicking Kathleen Hanna's hilarious and deadpan railing against sexism in the music world on Mike Watt's \u003cem>Ball-Hog or Tugboat\u003c/em> album. It would be a long time before I'd hear the phrase \u003cem>third wave feminism\u003c/em> or even begin to comprehend why, as an adult woman, I'd wear fuchsia stockings to work and keep my last name when I got married.\u003c/p>\n\u003cp>With a spate of films, \u003ca href=\"http://www.feministpress.org/books/riot-grrrl-collection-0\">books\u003c/a>, \u003ca href=\"http://www.nyu.edu/library/bobst/research/fales/riotgrrrltest.html\">archives\u003c/a>, documentaries and exhibits, Riot Grrrl is getting examined and celebrated. Something so visceral cannot yet be a documentary-tidy closed case, right? The past still reverberates, is still relevant. Riot Grrrl politics still have a place; evolved or \u003ca href=\"http://bitchmagazine.org/post/beyonc%C3%A9-has-claimed-feminism-as-her-brand-but-whats-next\">updated\u003c/a>, but still...connected. Watching \u003ca href=\"http://ww2.kqed.org/pop/2013/12/19/kathleen-hanna-on-riot-grrrl-history-her-battle-with-lyme-disease-and-the-punk-singer/\">\u003cem>The Punk Singer\u003c/em>\u003c/a>, I nearly cried when Kathleen Hanna says she doesn't care if people believe \u003ca href=\"http://www.themarysue.com/time-magazine-apologizes-feminism/\">feminism is still important or not\u003c/a>, because she knows it is. 'Girls to the front,' was her rallying cry at the rowdy shows Bikini Kill used to play. She no longer says this \u003ca href=\"http://www.theguardian.com/music/2014/may/09/kathleen-hanna-the-julie-ruin-bikini-kill-interview\">because girls are at the front\u003c/a>. Yet, too, as Sarah Marcus, author of \u003cem>Girls to the Front\u003c/em>, \u003ca href=\"http://www.nytimes.com/2011/06/05/arts/music/the-riot-grrrl-movement-still-inspires.html?pagewanted=all&_r=1&\">says in the \u003cem>New York Times\u003c/em>\u003c/a>, “people are flocking to these reminiscences because there remains a tremendous hunger.”\u003c/p>\n\u003cp>Perhaps hunger is a better word than nostalgia. We seek to understand something while it's happening, and again when we believe it's over, more confident in our abilities to take stock. Yet a different sort of complexity is born when we attempt to weigh the retrospective. Looking back is so evocative, muddled with confusion, recognition, some stirring, some realization of how small we are even in our most important moments.\u003c/p>\n\u003cp>Still, the moments matter because they matter to us. The larger cultural realities help us with our autobiographies, and so are sometimes too difficult to stay objective about, and why should we? Like anthropologists, we might pick up and turn over the reasons for who we are. I wandered the Riot Grrrl exhibit, the fragments of it like a memory in 3D, vivid and fractured, sweet and illuminating to recall, but also not entirely finished or clear.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://www.theguardian.com/music/2012/aug/03/j-mascis-dinosaur-jr-interview\">In an interview with \u003cem>The Guardian\u003c/em>\u003c/a>, the famously short-winded J Mascis, when asked if he considers the overall importance of Dinosaur Jr. in the scheme of things, says no. Because what is the scheme of things, exactly? These ordinary, extraordinary times are ours, these years, of all the millions of years there have been and will be. We do our best to understand. We collect these vital objects to display beneath plexiglass. We play our famous songs during encores. We listen, we look, we remember, we feel this longing. Yes, nostalgia too. We navigate our way through time, the origins of why we are who we are, always, to some degree, shrouded in mystery.\u003c/p>\n\n",
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"excerpt": "We pay homage to Riot Grrrl history in a museum. We sing along to a Dinosaur Jr. song at a J Mascis show. We try to understand the passage of time, our place within it, what matters, what lasts, and why.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_14103\" class=\"wp-caption aligncenter\" style=\"max-width: 563px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/riot-grrrl-zines.jpg\">\u003cimg class=\"wp-image-14103 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/riot-grrrl-zines.jpg\" alt=\"Riot Grrrl zines from ALIEN SHE. At Yerba Buena Center for the Arts. Photo by Laura Schadler.\" width=\"563\" height=\"563\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines.jpg 563w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/riot-grrrl-zines-75x75.jpg 75w\" sizes=\"(max-width: 563px) 100vw, 563px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riot Grrrl zines from ALIEN SHE, Yerba Buena Center for the Arts. Photo by Laura Schadler.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.npr.org/blogs/monkeysee/2012/04/18/150876971/nostalgia-is-anywhere-but-here\">Nostalgia\u003c/a> is a sentimental, incomplete idea. Our human patterns of emotion, recognition, self-awareness and desire seem far stranger and more difficult to understand than mere wistfulness. However, the ‘90s are certainly having their nostalgic moment right now.\u003c/p>\n\u003cp>From 1990 to 1999, I was 11-20, my entire adolescence comprised of the art, music, fashion, politics, ethos and aesthetic of that time. Its resurgence, Urban Outfitters babydoll dresses and Doc Martens notwithstanding, is unsurprisingly quite compelling to me. There's been talk lately of \u003ca href=\"http://www.newyorker.com/magazine/2012/04/23/the-forty-year-itch\">the cycles of nostalgia\u003c/a>, our romanticizing of the time right before we were born and/or for the time we came of age. I wonder if these cycles are looping us back around to something more existentially provocative, not merely a wish, but an attempt to understand the passage of time, our place within it, what matters, what lasts, and why.\u003c/p>\n\u003cp>Last night, I saw \u003ca href=\"http://floodmagazine.com/3585/watch-j-mascis-covers-mazzy-stars-fade-into-you/\">J Mascis\u003c/a> play a sold out show at The Independent. Granted, his encore was a Dinosaur Jr. song that sort of broke my heart, calling out to the 15-year-old parts of me still alive and well. But the bulk of his material was new, with the energy and intensity of a musician not relying on his previously established reputation. I leaned over to my friend and said, \"When his voice goes high like that, I feel my whole life.\" My \u003cem>whole\u003c/em> life...not just the past, but certainly my life given depth by the past, by where it now intrudes, evolves and somehow, mysteriously, becomes the present.\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/v4Xva7X69Os'\n title='//www.youtube.com/embed/v4Xva7X69Os'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We all think our time on Earth is the most important. Every generation believes theirs is the one that will get to see the apocalypse. It's that dire, that essential. Annie Dillard writes of this strange human belief in her gorgeous book, \u003cem>For the Time Being, \u003c/em>which ruminates on the misplaced confidence we have in our individual egos, as they exist amongst the incomprehensible vastness of all other people and all of history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>“Are not our generations the crucial ones? For we have changed the world. Are not our heightened times the important ones?...Are we not especially significant because our century is?...No, we are not and it is not. These times of ours are ordinary times...Who can bear to hear this, or who will consider it?\"\u003c/em>\u003c/p>\n\u003cp>The really interesting part is when we have lived long enough to bear hearing it, to consider it, to see just the tiniest flicker of the larger context, alongside the blinding subjectivity of our daily existence. We can begin to see that our lives, the surrounding cultures and subcultures that build, inspire, and support those lives are beautiful, essential, unknowable and fleeting. Somewhere in the mix comes this attempt to look back, to orient ourselves. Where are we? This strange year, this singular present moment, this contemporary time that occasionally seems so unfamiliar, so futuristic. And where were we before? This is not nostalgia, this is the most profound navigation, an attempt at narrative.\u003c/p>\n\u003cp>Last weekend, I saw \u003ca href=\"http://ybca.org/curators-statement-alien-she\">ALIEN SHE\u003c/a> at Yerba Buena Center for the Arts, an exhibit that examines the lasting impact of Riot Grrrl through archival ephemera, as well as a collection of contemporary works by artists who draw their influence from Riot Grrrl. What an intimate and unmoored feeling it is, at age 35, to see the counter-culture of my youth, these early ingredients of my very self on display with placards offering up dates and explanations. Aside from not being able to touch anything, the museum might well have been my high school bedroom. And, in many ways, Riot Grrrl was about our high school bedrooms, the stories written there, the music born there, the sensations of being a girl felt there, the tangible creative results that manifested.\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/3kDzHDBjyZA'\n title='//www.youtube.com/embed/3kDzHDBjyZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a teenager, I wrote BITCH on my stomach and went to a party wearing a beret and ripped up stockings. I can't imagine I fully understood the complex combinations of powerful and sexy this outfit inspired in me or why that mattered. But I marvel now at how lucky I was to have the images and language of this particular type of feminism available to me. That snarl and cuteness were ways we could be, an invitation to inhabit contradiction. \u003ca href=\"http://vimeo.com/19060637\">\"Dude, babe, sir,\"\u003c/a> my sister and I joked, mimicking Kathleen Hanna's hilarious and deadpan railing against sexism in the music world on Mike Watt's \u003cem>Ball-Hog or Tugboat\u003c/em> album. It would be a long time before I'd hear the phrase \u003cem>third wave feminism\u003c/em> or even begin to comprehend why, as an adult woman, I'd wear fuchsia stockings to work and keep my last name when I got married.\u003c/p>\n\u003cp>With a spate of films, \u003ca href=\"http://www.feministpress.org/books/riot-grrrl-collection-0\">books\u003c/a>, \u003ca href=\"http://www.nyu.edu/library/bobst/research/fales/riotgrrrltest.html\">archives\u003c/a>, documentaries and exhibits, Riot Grrrl is getting examined and celebrated. Something so visceral cannot yet be a documentary-tidy closed case, right? The past still reverberates, is still relevant. Riot Grrrl politics still have a place; evolved or \u003ca href=\"http://bitchmagazine.org/post/beyonc%C3%A9-has-claimed-feminism-as-her-brand-but-whats-next\">updated\u003c/a>, but still...connected. Watching \u003ca href=\"http://ww2.kqed.org/pop/2013/12/19/kathleen-hanna-on-riot-grrrl-history-her-battle-with-lyme-disease-and-the-punk-singer/\">\u003cem>The Punk Singer\u003c/em>\u003c/a>, I nearly cried when Kathleen Hanna says she doesn't care if people believe \u003ca href=\"http://www.themarysue.com/time-magazine-apologizes-feminism/\">feminism is still important or not\u003c/a>, because she knows it is. 'Girls to the front,' was her rallying cry at the rowdy shows Bikini Kill used to play. She no longer says this \u003ca href=\"http://www.theguardian.com/music/2014/may/09/kathleen-hanna-the-julie-ruin-bikini-kill-interview\">because girls are at the front\u003c/a>. Yet, too, as Sarah Marcus, author of \u003cem>Girls to the Front\u003c/em>, \u003ca href=\"http://www.nytimes.com/2011/06/05/arts/music/the-riot-grrrl-movement-still-inspires.html?pagewanted=all&_r=1&\">says in the \u003cem>New York Times\u003c/em>\u003c/a>, “people are flocking to these reminiscences because there remains a tremendous hunger.”\u003c/p>\n\u003cp>Perhaps hunger is a better word than nostalgia. We seek to understand something while it's happening, and again when we believe it's over, more confident in our abilities to take stock. Yet a different sort of complexity is born when we attempt to weigh the retrospective. Looking back is so evocative, muddled with confusion, recognition, some stirring, some realization of how small we are even in our most important moments.\u003c/p>\n\u003cp>Still, the moments matter because they matter to us. The larger cultural realities help us with our autobiographies, and so are sometimes too difficult to stay objective about, and why should we? Like anthropologists, we might pick up and turn over the reasons for who we are. I wandered the Riot Grrrl exhibit, the fragments of it like a memory in 3D, vivid and fractured, sweet and illuminating to recall, but also not entirely finished or clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.theguardian.com/music/2012/aug/03/j-mascis-dinosaur-jr-interview\">In an interview with \u003cem>The Guardian\u003c/em>\u003c/a>, the famously short-winded J Mascis, when asked if he considers the overall importance of Dinosaur Jr. in the scheme of things, says no. Because what is the scheme of things, exactly? These ordinary, extraordinary times are ours, these years, of all the millions of years there have been and will be. We do our best to understand. We collect these vital objects to display beneath plexiglass. We play our famous songs during encores. We listen, we look, we remember, we feel this longing. Yes, nostalgia too. We navigate our way through time, the origins of why we are who we are, always, to some degree, shrouded in mystery.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kathleen Hanna on Riot Grrrl History, Her Battle with Lyme Disease, and 'The Punk Singer'",
"headTitle": "Kathleen Hanna on Riot Grrrl History, Her Battle with Lyme Disease, and ‘The Punk Singer’ | KQED",
"content": "\u003cfigure id=\"attachment_10289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10289\" rel=\"attachment wp-att-10289\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10289\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/kathleen-hanna.png\" alt=\"Photo: Dusty Lombard\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/12/kathleen-hanna.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/12/kathleen-hanna-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.ifcfilms.com/uncategorized/the-punk-singer\">Dusty Lombard\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">In the early ’90s, Kathleen Hanna erupted onto the alternative music scene as the powerful voice of the band \u003ca href=\"http://bikinikill.com/\">Bikini Kill\u003c/a>, and quickly became regarded as the rock ‘n’ roll godmother of third wave feminism. Hanna and her cohorts were the brains behind the Riot Grrrl movement, an underground, feminist punk movement that worked to create a safe space for women in the music scene through photocopied fanzines, female-fueled discussion groups, activism, and good old fashioned rock ‘n’ roll. Her sharp tongue and ferocious performances with Bikini Kill (and, later, dance-punk trio, \u003ca href=\"http://www.letigreworld.com/\">Le Tigre\u003c/a>) made Hanna the most recognizable (and loudest) voice of the Riot Grrl movement, bewitching a new generation of free-thinking females.\u003c/p>\n\u003cp dir=\"ltr\">Five years ago, much to the bewilderment of her loyal fans, Hanna dropped the mic, claiming she’d said all she needed to say, and stopped performing. It wasn’t until the autobiographical, career-spanning documentary \u003cem>The Punk Singer\u003c/em> that Hanna bravely revealed to the world that she’d been struggling with late-stage Lyme disease. The debilitating illness, misdiagnosed for years, sidelined Hanna for some time, but the songstress fought tooth and nail to restore her health and still managed to find time and energy to start a new band, \u003ca href=\"http://www.thejulieruinband.com/wp/\">The Julie Ruin\u003c/a>, along the way.\u003c/p>\n\u003cp dir=\"ltr\">Through archival footage and dozens of interviews with friends and fellow artists, \u003cem>The Punk Singer\u003c/em>, weaves the story of Kathleen Hanna. Interesting, inspiring, and always honest, director Sini Anderson creates a beautiful tribute to a living legend. So when the opportunity presented itself, I jumped at the chance to chat with one of my personal heroes regarding her mysterious disappearance, the modern face of feminism, and the silent US epidemic, Lyme disease. Below is our (too short for this fan-girl!) conversation.\u003c/p>\n\u003cfigure id=\"attachment_10275\" class=\"wp-caption alignright\" style=\"max-width: 207px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10275\" rel=\"attachment wp-att-10275\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10275 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/KH2-207x300.jpg\" alt=\"Kathleen Hanna Bikini Kill\" width=\"207\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Dusty Lombard\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">\u003cstrong>KQED Pop: So, I saw \u003cem>The Punk Singer\u003c/em> twice last week.\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Kathleen Hanna:\u003c/strong> Woah!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>I know, I know. I rented it on iTunes and I saw it at the \u003ca href=\"http://roxie.com/\">Roxie Theatre\u003c/a> in San Francisco. So I guess my first question is, how does it feel to have a film made about your career and your life?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> Um…it feels weird. It wasn’t like \u003ca href=\"http://www.imdb.com/name/nm2481948/\">Sini\u003c/a> pointed a gun to my head and made me do it, but I made it under the duress of being a sick person and thinking this is my only chance to have my work remembered and this is a way that my work can, in a way, be archived. So to actually be so much better, physically now, and having to live with what I’ve done. It’s like, woah! I shared all this stuff. I totally laid myself bare in all these ways that I probably wouldn’t have if I wasn’t sick. Cause when you get sick you have this thing of just radical honesty.\u003c/p>\n\u003cp>It’s hard for me to watch, it’s embarrassing, it’s all of those things. I don’t watch it. I saw it once in the theater, but it’s one of those things I’d like to watch when I’m 65 and be like, “Oh look, look what I did!”\u003cbr>\n[aside postID=’arts_13808185′]\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>You have a knack for taking the hardships you’ve faced in your life and using that as fuel for your art. I’m curious how you encourage and support someone who’s going through a rough time in their life to do the same?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> It’s a really hard line because I kind of hate that American idea of “what doesn’t kill you makes you stronger” and those kind of clichés. I feel like I’ve very much fallen prey in my own life to that kind of misguided optimism. At the same time, I’ve learned [a lot] over the last couple years, not just from being sick but from going to a bunch of cabaret performances (I know that sounds crazy). My friend \u003ca href=\"http://flavorwire.com/423888/the-tender-side-of-bridget-everett-new-yorks-sexiest-most-terrifying-alt-cabaret-sensation/\">B\u003c/a>\u003ca href=\"http://flavorwire.com/423888/the-tender-side-of-bridget-everett-new-yorks-sexiest-most-terrifying-alt-cabaret-sensation/\">ridget Everett is an amazing cabaret artist\u003c/a> and she takes a lot of her life tragedies and dysfunctional childhood things and she turns them into jokes. Because they’re so upsetting, they make you laugh. I really believe in tragedy plus time equals humor. And I feel like telling your story over and over again, whether it’s to a therapist or a camera, or an interview sometimes, takes the sting out of it. And turns it into just a story in your life that you can goof around with. It doesn’t have to be this thing that defines you or controls you. It could be something that gives you fuel.\u003c/p>\n\u003cfigure id=\"attachment_10292\" class=\"wp-caption alignleft\" style=\"max-width: 383px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10292\" rel=\"attachment wp-att-10292\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-10292 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/Screen-shot-2013-12-17-at-4.58.16-PM.png\" alt=\"Photo: Dustin Lombard\" width=\"383\" height=\"241\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/12/Screen-shot-2013-12-17-at-4.58.16-PM.png 782w, https://ww2.kqed.org/app/uploads/sites/12/2013/12/Screen-shot-2013-12-17-at-4.58.16-PM-400x251.png 400w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Dustin Lombard\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So if you were to write your Riot Grrrl manifesto now, would you make any changes to it? Or would you remain true to what you said at the time when you originally wrote it?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> I think I would have a lot of stupid, sagely advice in my new Riot Grrrl manifesto that nobody would want to hear. I’m glad that I wrote it how I wrote it, however flawed it was because, I wrote it, you know? I didn’t write it and throw it in the trash, I actually printed it. When I read it now, yeah, it’s embarrassing. I feel like there’s a lot of me really trying to cover all my bases and just making sure I mention like speciesism. And I’m not saying that that’s not an important topic, but I feel like I was trying to kind of do this very ’90s, white, middle-class, college educated girl thing of ‘I’m critiquing myself while I’m asserting myself.’\u003c/p>\n\u003cp dir=\"ltr\">And I think that actually makes it harder for people to critique you. Because you’re like ‘I already critiqued myself. Look I included everyone in this!’ Yeah, I’m including everyone but it’s surrounded by a bunch of pictures of white women. So it’s like, am I really including everyone in this? How homogeneous is the punk scene and that’s where this is being distributed? And all those kinds of questions. So I think I would probably be more honest about what position I was writing from and that I wasn’t able to write this universal, overarching thing. I was writing from my own point of view. I’d make that more obvious.\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Do you feel that, as it has evolved, \u003cstrong>the Riot Grrrl movement\u003c/strong> remained true to its roots or has it shifted in some significant way in your eyes?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> I don’t even know if Riot Grrl still exists as such. I think that right now there’s this interesting transitional phase where people who have been influenced by Riot Grrrl or who have pushed against it in a lot of really interesting ways are now creating brand new things. There’s the \u003ca href=\"http://poczineproject.tumblr.com/\">People of Color Zine Project\u003c/a>. There’s also the \u003ca href=\"http://birdsongmag.tumblr.com/\">Birdsong Collective\u003c/a> here in New York — they distribute zines, they put on shows — and I also see \u003ca href=\"http://www.kathleenhanna.com/girls-rock-camp-alliance/\">Girls Rock Camp\u003c/a> as being something that kind of fulfills the promise that Riot Grrrl never really achieved. They are physically getting young women, all different kinds of young women, together to make music and giving them skills to work together. Those are the places I see Riot Grrrl manifesting itself and that is really exciting. I don’t think Riot Grrrl needs to be repeated. It already happened. And it doesn’t need to be fetishized or anything. I think it needs to be critiqued and challenged because that’s the way that things grow and get better.\u003c/p>\n\u003cp>\u003cstrong>Let’s go back to the topic of Lyme disease. Will it get out of your system? Will you be better?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH: \u003c/strong>I don’t know. My doctor used to treat AIDS patients and now he treats Lyme disease patients. And he has spoken to me about how there is a similar denial within the medical community and within the larger culture, which is ridiculous because I’ve spoke to two different journalists today, one whose mom had it for 14 years and is still struggling and another who was like ‘yeah, my two brothers have it,’ and I’ve only talked to five reporters today. So it’s a pretty huge deal and they’re still kind of working out the treatments for it. Nobody really knows. There’s not going to be a point where I get tested and I’m clear and then I go back every six months and check to see if I’m clear. It’s more like living day to day. I’m still in treatment now and I’ll be done in about two more months, and then I go on the maintenance program. Then, hopefully I can start weaning off my meds.\u003c/p>\n\u003cfigure id=\"attachment_10293\" class=\"wp-caption alignright\" style=\"max-width: 286px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10293\" rel=\"attachment wp-att-10293\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-10293 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/3-Kathleen-Hanna-playing-the-drums.-Photo-courtesy-of-Allison-Michael-Orenstein-682x1024.jpg\" alt=\"Photo: Allison Michael Orenstein\" width=\"286\" height=\"430\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Allison Michael Orenstein\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">\u003cstrong>Yeah, that looked painful.\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> Oh, that stuff in the movie is like nothing. It’s so funny to me. I was like, you should use something way harsher than that because that was a good day.\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>\u003c/strong>\u003cstrong>I appreciate you sharing the rough things you’re going through because I know that you’re going to heighten awareness of it. So I’m curious if there’s anything that you want people to know about Lyme disease? Something they don’t know that needs to be said.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>KH:\u003c/strong> I think the main thing is, if you’ve gotten a negative test, that doesn’t necessarily mean anything. I was tested two times. If you’re tested when you’re on antibiotics, it often doesn’t show up. If you’re a late stage Lyme disease person, it often doesn’t show up. It’s a disease that typically needs to be diagnosed by your symptoms. I had uveitis which is inflammation of the eye and my eye got bright red. It was like having pink eye except someone was punching me in the eye over and over. My optometrist said “You either have MS, lupus, celiac, Crohn’s or Lyme,” and I said I can’t have Lyme because I was tested for it twice. And that’s really sad to me. That’s the main thing: even if you’ve been tested, look into what the symptoms are. Watch the movie \u003cem>Under Our Skin\u003c/em>. If you recognize yourself, you may have it. Find a good doctor and don’t give up. Don’t ever give up on finding the proper treatment because it is out there. It just has to be individualized to where you’re at. It’s expensive, but it’s your life.\u003c/p>\n\u003cp>\u003cstrong>Well, I’m glad you’re on the right track for your health and I hope you’re feeling better.\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> Thank you.\u003c/p>\n\u003cp>\u003cstrong>Will you ever quit being out there, being a voice?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> I think that the way that I will be out there will probably change. I really want to write comedy, I really want to do visual art. I really still want to play music desperately. I’ve been playing shows — actually our San Francisco show was a total blast — and I know I want to keep writing music. So I just think that when I get bored of one thing, I’ll just move on to the next. And I love lecturing. That’s something I could see myself doing until, you know, I drop dead at the podium.\u003c/p>\n\u003cp>\u003cstrong>Please don’t. \u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/fwrXC5OXqgc\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Catch \u003c/em>The Punk Singer\u003cem> in San Francisco at \u003ca href=\"http://www.theroxie.com\">the Roxie Theatre\u003c/a> tonight (December 19, 2013) or rent it on iTunes!\u003c/em>\u003c/p>\n\n",
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"excerpt": "Riot Grrrl ringleader Kathleen Hanna of Bikini Kill, Le Tigre, and The Julie Ruin talks about her mysterious disappearance, the modern face of feminism, and 'The Punk Singer,' the new documentary based on her life.",
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"description": "Riot Grrrl ringleader Kathleen Hanna of Bikini Kill, Le Tigre, and The Julie Ruin talks about her mysterious disappearance, the modern face of feminism, and 'The Punk Singer,' the new documentary based on her life.",
"title": "Kathleen Hanna on Riot Grrrl History, Her Battle with Lyme Disease, and 'The Punk Singer' | KQED",
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"headline": "Kathleen Hanna on Riot Grrrl History, Her Battle with Lyme Disease, and 'The Punk Singer'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10289\" rel=\"attachment wp-att-10289\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10289\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/kathleen-hanna.png\" alt=\"Photo: Dusty Lombard\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/12/kathleen-hanna.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/12/kathleen-hanna-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.ifcfilms.com/uncategorized/the-punk-singer\">Dusty Lombard\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">In the early ’90s, Kathleen Hanna erupted onto the alternative music scene as the powerful voice of the band \u003ca href=\"http://bikinikill.com/\">Bikini Kill\u003c/a>, and quickly became regarded as the rock ‘n’ roll godmother of third wave feminism. Hanna and her cohorts were the brains behind the Riot Grrrl movement, an underground, feminist punk movement that worked to create a safe space for women in the music scene through photocopied fanzines, female-fueled discussion groups, activism, and good old fashioned rock ‘n’ roll. Her sharp tongue and ferocious performances with Bikini Kill (and, later, dance-punk trio, \u003ca href=\"http://www.letigreworld.com/\">Le Tigre\u003c/a>) made Hanna the most recognizable (and loudest) voice of the Riot Grrl movement, bewitching a new generation of free-thinking females.\u003c/p>\n\u003cp dir=\"ltr\">Five years ago, much to the bewilderment of her loyal fans, Hanna dropped the mic, claiming she’d said all she needed to say, and stopped performing. It wasn’t until the autobiographical, career-spanning documentary \u003cem>The Punk Singer\u003c/em> that Hanna bravely revealed to the world that she’d been struggling with late-stage Lyme disease. The debilitating illness, misdiagnosed for years, sidelined Hanna for some time, but the songstress fought tooth and nail to restore her health and still managed to find time and energy to start a new band, \u003ca href=\"http://www.thejulieruinband.com/wp/\">The Julie Ruin\u003c/a>, along the way.\u003c/p>\n\u003cp dir=\"ltr\">Through archival footage and dozens of interviews with friends and fellow artists, \u003cem>The Punk Singer\u003c/em>, weaves the story of Kathleen Hanna. Interesting, inspiring, and always honest, director Sini Anderson creates a beautiful tribute to a living legend. So when the opportunity presented itself, I jumped at the chance to chat with one of my personal heroes regarding her mysterious disappearance, the modern face of feminism, and the silent US epidemic, Lyme disease. Below is our (too short for this fan-girl!) conversation.\u003c/p>\n\u003cfigure id=\"attachment_10275\" class=\"wp-caption alignright\" style=\"max-width: 207px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10275\" rel=\"attachment wp-att-10275\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10275 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/KH2-207x300.jpg\" alt=\"Kathleen Hanna Bikini Kill\" width=\"207\" height=\"300\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Dusty Lombard\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">\u003cstrong>KQED Pop: So, I saw \u003cem>The Punk Singer\u003c/em> twice last week.\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Kathleen Hanna:\u003c/strong> Woah!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>I know, I know. I rented it on iTunes and I saw it at the \u003ca href=\"http://roxie.com/\">Roxie Theatre\u003c/a> in San Francisco. So I guess my first question is, how does it feel to have a film made about your career and your life?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> Um…it feels weird. It wasn’t like \u003ca href=\"http://www.imdb.com/name/nm2481948/\">Sini\u003c/a> pointed a gun to my head and made me do it, but I made it under the duress of being a sick person and thinking this is my only chance to have my work remembered and this is a way that my work can, in a way, be archived. So to actually be so much better, physically now, and having to live with what I’ve done. It’s like, woah! I shared all this stuff. I totally laid myself bare in all these ways that I probably wouldn’t have if I wasn’t sick. Cause when you get sick you have this thing of just radical honesty.\u003c/p>\n\u003cp>It’s hard for me to watch, it’s embarrassing, it’s all of those things. I don’t watch it. I saw it once in the theater, but it’s one of those things I’d like to watch when I’m 65 and be like, “Oh look, look what I did!”\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>You have a knack for taking the hardships you’ve faced in your life and using that as fuel for your art. I’m curious how you encourage and support someone who’s going through a rough time in their life to do the same?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> It’s a really hard line because I kind of hate that American idea of “what doesn’t kill you makes you stronger” and those kind of clichés. I feel like I’ve very much fallen prey in my own life to that kind of misguided optimism. At the same time, I’ve learned [a lot] over the last couple years, not just from being sick but from going to a bunch of cabaret performances (I know that sounds crazy). My friend \u003ca href=\"http://flavorwire.com/423888/the-tender-side-of-bridget-everett-new-yorks-sexiest-most-terrifying-alt-cabaret-sensation/\">B\u003c/a>\u003ca href=\"http://flavorwire.com/423888/the-tender-side-of-bridget-everett-new-yorks-sexiest-most-terrifying-alt-cabaret-sensation/\">ridget Everett is an amazing cabaret artist\u003c/a> and she takes a lot of her life tragedies and dysfunctional childhood things and she turns them into jokes. Because they’re so upsetting, they make you laugh. I really believe in tragedy plus time equals humor. And I feel like telling your story over and over again, whether it’s to a therapist or a camera, or an interview sometimes, takes the sting out of it. And turns it into just a story in your life that you can goof around with. It doesn’t have to be this thing that defines you or controls you. It could be something that gives you fuel.\u003c/p>\n\u003cfigure id=\"attachment_10292\" class=\"wp-caption alignleft\" style=\"max-width: 383px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10292\" rel=\"attachment wp-att-10292\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-10292 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/Screen-shot-2013-12-17-at-4.58.16-PM.png\" alt=\"Photo: Dustin Lombard\" width=\"383\" height=\"241\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/12/Screen-shot-2013-12-17-at-4.58.16-PM.png 782w, https://ww2.kqed.org/app/uploads/sites/12/2013/12/Screen-shot-2013-12-17-at-4.58.16-PM-400x251.png 400w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Dustin Lombard\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So if you were to write your Riot Grrrl manifesto now, would you make any changes to it? Or would you remain true to what you said at the time when you originally wrote it?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> I think I would have a lot of stupid, sagely advice in my new Riot Grrrl manifesto that nobody would want to hear. I’m glad that I wrote it how I wrote it, however flawed it was because, I wrote it, you know? I didn’t write it and throw it in the trash, I actually printed it. When I read it now, yeah, it’s embarrassing. I feel like there’s a lot of me really trying to cover all my bases and just making sure I mention like speciesism. And I’m not saying that that’s not an important topic, but I feel like I was trying to kind of do this very ’90s, white, middle-class, college educated girl thing of ‘I’m critiquing myself while I’m asserting myself.’\u003c/p>\n\u003cp dir=\"ltr\">And I think that actually makes it harder for people to critique you. Because you’re like ‘I already critiqued myself. Look I included everyone in this!’ Yeah, I’m including everyone but it’s surrounded by a bunch of pictures of white women. So it’s like, am I really including everyone in this? How homogeneous is the punk scene and that’s where this is being distributed? And all those kinds of questions. So I think I would probably be more honest about what position I was writing from and that I wasn’t able to write this universal, overarching thing. I was writing from my own point of view. I’d make that more obvious.\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>Do you feel that, as it has evolved, \u003cstrong>the Riot Grrrl movement\u003c/strong> remained true to its roots or has it shifted in some significant way in your eyes?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> I don’t even know if Riot Grrl still exists as such. I think that right now there’s this interesting transitional phase where people who have been influenced by Riot Grrrl or who have pushed against it in a lot of really interesting ways are now creating brand new things. There’s the \u003ca href=\"http://poczineproject.tumblr.com/\">People of Color Zine Project\u003c/a>. There’s also the \u003ca href=\"http://birdsongmag.tumblr.com/\">Birdsong Collective\u003c/a> here in New York — they distribute zines, they put on shows — and I also see \u003ca href=\"http://www.kathleenhanna.com/girls-rock-camp-alliance/\">Girls Rock Camp\u003c/a> as being something that kind of fulfills the promise that Riot Grrrl never really achieved. They are physically getting young women, all different kinds of young women, together to make music and giving them skills to work together. Those are the places I see Riot Grrrl manifesting itself and that is really exciting. I don’t think Riot Grrrl needs to be repeated. It already happened. And it doesn’t need to be fetishized or anything. I think it needs to be critiqued and challenged because that’s the way that things grow and get better.\u003c/p>\n\u003cp>\u003cstrong>Let’s go back to the topic of Lyme disease. Will it get out of your system? Will you be better?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH: \u003c/strong>I don’t know. My doctor used to treat AIDS patients and now he treats Lyme disease patients. And he has spoken to me about how there is a similar denial within the medical community and within the larger culture, which is ridiculous because I’ve spoke to two different journalists today, one whose mom had it for 14 years and is still struggling and another who was like ‘yeah, my two brothers have it,’ and I’ve only talked to five reporters today. So it’s a pretty huge deal and they’re still kind of working out the treatments for it. Nobody really knows. There’s not going to be a point where I get tested and I’m clear and then I go back every six months and check to see if I’m clear. It’s more like living day to day. I’m still in treatment now and I’ll be done in about two more months, and then I go on the maintenance program. Then, hopefully I can start weaning off my meds.\u003c/p>\n\u003cfigure id=\"attachment_10293\" class=\"wp-caption alignright\" style=\"max-width: 286px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10293\" rel=\"attachment wp-att-10293\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-10293 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/3-Kathleen-Hanna-playing-the-drums.-Photo-courtesy-of-Allison-Michael-Orenstein-682x1024.jpg\" alt=\"Photo: Allison Michael Orenstein\" width=\"286\" height=\"430\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Allison Michael Orenstein\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">\u003cstrong>Yeah, that looked painful.\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> Oh, that stuff in the movie is like nothing. It’s so funny to me. I was like, you should use something way harsher than that because that was a good day.\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>\u003c/strong>\u003cstrong>I appreciate you sharing the rough things you’re going through because I know that you’re going to heighten awareness of it. So I’m curious if there’s anything that you want people to know about Lyme disease? Something they don’t know that needs to be said.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>KH:\u003c/strong> I think the main thing is, if you’ve gotten a negative test, that doesn’t necessarily mean anything. I was tested two times. If you’re tested when you’re on antibiotics, it often doesn’t show up. If you’re a late stage Lyme disease person, it often doesn’t show up. It’s a disease that typically needs to be diagnosed by your symptoms. I had uveitis which is inflammation of the eye and my eye got bright red. It was like having pink eye except someone was punching me in the eye over and over. My optometrist said “You either have MS, lupus, celiac, Crohn’s or Lyme,” and I said I can’t have Lyme because I was tested for it twice. And that’s really sad to me. That’s the main thing: even if you’ve been tested, look into what the symptoms are. Watch the movie \u003cem>Under Our Skin\u003c/em>. If you recognize yourself, you may have it. Find a good doctor and don’t give up. Don’t ever give up on finding the proper treatment because it is out there. It just has to be individualized to where you’re at. It’s expensive, but it’s your life.\u003c/p>\n\u003cp>\u003cstrong>Well, I’m glad you’re on the right track for your health and I hope you’re feeling better.\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> Thank you.\u003c/p>\n\u003cp>\u003cstrong>Will you ever quit being out there, being a voice?\u003c/strong>\u003c/p>\n\u003cp dir=\"ltr\">\u003cstrong>KH:\u003c/strong> I think that the way that I will be out there will probably change. I really want to write comedy, I really want to do visual art. I really still want to play music desperately. I’ve been playing shows — actually our San Francisco show was a total blast — and I know I want to keep writing music. So I just think that when I get bored of one thing, I’ll just move on to the next. And I love lecturing. That’s something I could see myself doing until, you know, I drop dead at the podium.\u003c/p>\n\u003cp>\u003cstrong>Please don’t. \u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe loading=\"lazy\" src=\"//www.youtube.com/embed/fwrXC5OXqgc\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch \u003c/em>The Punk Singer\u003cem> in San Francisco at \u003ca href=\"http://www.theroxie.com\">the Roxie Theatre\u003c/a> tonight (December 19, 2013) or rent it on iTunes!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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