by Kate Wadkins
In sync with Sarah Lawrence’s recent call for papers for 2011’s Women’s History Conference, I am syndicating my review of the plenary panel from this year’s The Message is in the Music: Hip Hop Feminism, Riot Grrrl, Latina Music & More with RE/VISIONIST (it is also currently published in this year’s Women’s History newsletter). Specifically Ngo and Nguyen’s papers, in the context of the Conference at large, really inspired me to pursue my thesis work on masculinities in punk rock. Watching other scholars dare to take on pop culture subjects like music gave me hope and certainty that cultural production is worthy of an historical treatment.
This article is also timely as it preempts the publication of International Girl Gang Underground, a compilation zine about the way riot grrrl has influenced punk feminist cultural production over the past twenty years. Nguyen’s early iteration of her paper, “Aesthetics, Access, Intimacy” or “Race, Riot Grrrl, Bad Feelings” will be included in the zine, nestled in among scene reports and personal stories from all over the world.
“I quit punk like 8 times,” Mimi Nguyen confessed to a full auditorium at Sarah Lawrence College’s 12th Annual Women’s History Conference: The Message is in the Music: Hip-Hop Feminism, Riot Grrrl, Latina Music & More, recollecting her contentious relationship with punk rock. As the first panel of the morning opened up, the groggy, packed audience, comprised of women of all ages and ilk, quickly awoke to Nguyen’s sharp wit and powerful presence. For the plenary panel, Fiona Ngo and Mimi Nguyen, both assistant professors at the University of Illinois Urbana-Champaign, discussed grassroots punk scenes and their internal racial dynamics. A third panelist, Sarah Lawrence alum Christa D’Angelica, presented on what she termed a “second wave” of riot grrrl that traversed from zine pages to dial-up modems in the late 1990s. Continue reading