I was listening to Le Tigre after reading Kathleen Hanna's book Rebel Girl. I tried Bikini Kill first, but not my groove.
I knew of Bikini Kill and the Riot Girrl phenomenon in the 90's, but contemporaneous "fanzines" resonated with me more than punk music or the little-girl fashion of female musicians like Hanna or even the Breeders. (Baby barrettes? In my 20's?! No way.)
Why was Kathleen Hanna such a punk? Some of the causes are pretty yucky, and her accounts of the harm she endured in her teenage and young adult life is upsetting. I was aghast at her living situations and why she would choose to be around sleazy men. She was a hot, petite girl. Why did she keep endangering herself? I zipped through Rebel Girl in two days, and was relieved to see health, love and family within her reach toward the book's end.
Did all of those Riot Grrls have traumatic childhoods? What else would cause a young lady to be so angry?
As one tool for healing, Ms. Hanna opened channels of communication for girls and women to receive emotional support after traumas, mostly sexual assault related. Providing counseling for these girls and women to heal and to express themselves is a notable trail that Ms. Hanna blazed. There was a dearth of support systems for girls who were struggling back then; and women's rights were still in fledgling beginnings.
Throughout her artistic career of organizing social events, performing punk music and putting out 'zines, Ms. Hanna also supported females in our society and has even become a role model, even if inadvertently. In her life's work, she has pushed women's rights further toward equality. Girls and women do have more freedom in this generation to express themselves in culture without trying to fit in with the guys.
So why was I so shocked to hear how high her voice is? I must have had other expectations for the voice of the renowned singer from Bikini Kill.
Fortunately for my ears, in her 2nd band Le Tigre she toned down the screeching rage of her punk phase, and their eponymous album is very listenable. Le Tigre's song "What's your take on Cassavetes" makes me laugh with its queries about the titular independent filmmaker. Misogynist or genius? Alcoholic or messiah? (Not much of a gray area to choose from!) And "Dude Yr so Crazy" name-drops references to urbane American lifestyles such as Film festival... Hilton safari... Euro connection... Likes parties. Sounds exactly like hanging out in New York or Los Angeles.
I also appreciate the groovy, cool mixing she does with her drum machine and collaged sound samples, as in "Slideshow at Free University." Le Tigre's electronic music is particularly enriched for me by the story in Rebel Girl about her finding that pre-owned drum machine in a little store with Beastie Boy Adam Horovitz (now Hanna's husband) and him urging her to buy it because it was such good value.
Hanna matures in Rebel Girl and the book's closing chapters are inspiring. She is spot on when she expresses the importance of organizing live music and art events and to get people "off the f**ing internet." She has been a creator of community throughout her adult life and that spirit of bringing people together applies to fans of all music genres.
After reading this book, I'm motivated to host more gatherings.
Can't wait to hear what Kathleen Hanna has to say on the podcast that she's hosting for the Rock n roll Hall of Fame. She has wisdom.
1/1/2026