The Riot Grrrl Collection is an attempt to document the evolution of the Riot Grrrl movement, particularly in the years between 1989 and 1996. Because Riot Grrrl was (and is) both a political and a cultural movement, its output was diverse, including writing, music, performance, film, activism, photography, video, and original art, as well as documentation of activism and performance. This research collection will provide primary resources for scholars who are interested in feminism, punk activism, queer theory, gender theory, DIY culture, and music history.
The primary area of collecting is the personal papers of those involved in the creation of early Riot Grrrl zines, music, and activism. This includes (but is not limited to) correspondence, artwork, journals and notebooks, audio or video recordings, photographs, clippings, and flyers, as well as any source materials relating to the creation of artworks, writings, fanzines, bands, performances or events.
The Fales Riot Grrrl Collection is not just a zine collection, although zines and other non-unique items will be collected to augment research. The collection's primary mandate is to collect unique materials that provide documentation of the creative process of individuals and the chronology of the movement overall.
(Via NYU )
Interview: Kathleen Hanna on The Raincoats and Building an Archive
Is your vinyl collection really awesome?
I do have a good vinyl collection. I think I might just bring some 7” and my computer to DJ though and just go back and forth because I just don’t want to carry 12”. I would just have to bring so many and I’m into 7” right now.
Are you super obsessive about your record collection, too? Is it obsessively archived?
No, I’m a total slob when it comes to stuff like that. I mean, I listen to mp3s on my computer more than anything,
But how long did it take to make your archive for NYU and did you like the process?
It took like 6 months. I mean, I had everything, it was just a matter of organizing it and going through. Bikini Kill broke up in ’98 and it was 2009 or 2008 when I started working on it. So that’s 10 years and I hadn’t looked at any of that stuff. I had my intern Kate help me and sort through everything and I just sat in my office and looked through every piece of paper and had to make decisions. I did a lot of writing that I never showed anybody back then. About what I thought about the scene or what was going on within riot grrrl. That seemed too inflammatory at the time, but now I included all of that. But I’m happy it’s for scholars, not everyone in the world. The fact that the collection is meant to be viewed as a whole, you have to sign a piece of paper saying you’re not going to put it on the internet, you can’t go in there with chocolate or BBQ sauce all over your hands.
It’s interesting that you say you want scholars to see it.
I mean I’ve been in that same position too, like even in the 90’s. We were all reading bell hooks and her whole thing was being this super smart interesting intellectual who wrote books that most anyone could understand. And I think that we learned a lot from her. And it was like, How do I turn this into a punk song? And for us, that really addressed the question of theory versus practice. That was how we bridged that gap and how we answered those questions for ourselves. And you know, my sister and me were the first generation in my family to like, go to and finish college. So I always felt like it was like my duty to make sure that people who didn’t necessarily get to go to college, which was an amazing experience for me and I always felt lucky I got to go, that I could share. And not to dumb them down, but to put them out there for people that weren’t academics. Just because you’re not an academic doesn’t mean you’re a dumbass.
via fader mag
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