There is a lot to say about what Bikini Kill and other 'riot grrrl' bands were able to achieve when they first set out. They were not some momentary, convulsive, creative spasm of independent music. There was a very real, relevant point of view being expressed.
Interpretation
The quote highlights the significant impact of the 'riot grrrl' movement in music.
Henry Rollins reflects on the influence of 'riot grrrl' bands like Bikini Kill, emphasizing that their contribution was not just a brief trend but involved a meaningful expression of feminist perspectives within the music scene. He asserts that these bands articulated important ideas that resonated with the cultural and social issues of their time.
In practice
In a speech on women's contributions to music, this quote can be shared to highlight feminist movements.
Some people see Black Friday as a much-needed break for their wallet. I see it as retail outlets showing the customers the full weight of their contempt. The frenzy to buy cheap crap from China, the human downgrade of people fighting with each other over items they can probably live without, to me, is an insult.
Strength is the product of struggle, you must do what others don't to achieve what others won't.
Sitting in a room, alone, listening to a CD is to be lonely. Sitting in a room alone with an LP crackling away, or sitting next to the turntable listening to a song at a time via 7-inch single is enjoying the sublime state of solitude.
When the Iron doesn't want to come off the mat, it's the kindest thing it can do for you. If it flew up and went through the ceiling, it wouldn't teach you anything.
If you paid Americans a living wage, they would be able to pay for products made by Americans in America.
If I lose the light of the sun, I will write by candlelight, moonlight, no light. If I lose paper and ink, I will write in blood on forgotten walls. I will write always. I will capture nights all over the world and bring them to you
I'm really glad we came up when we did. When we got started, the record companies were concerned with building careers. They made sure you could put on a live show before you put a record out. And if your first album sold 100,000 to 200,000 copies, they were happy, because they figured you had your foot in the door on a way to a long career.
I see a young man playing 'Plaisir d'Amour' on guitar. I knew I didn't want to go to college; I was already playing a ukulele, and after I saw that, I was hooked. All I wanted to do was play guitar and sing.
Some kids in Italy call me 'Mama Jazz; I thought that was so cute. As long as they don't call me 'Grandma Jazz.'
One thing I can say about our band is this. If you got something good to lay on us, enlighten us, but if you got something bad to lay on us, you can get your teeth knocked clean down your throat man. Dangerous people. Lovely people.
I always say that the problem with jazz accessibility is not the content of the music, it's people's ability to access it.
I think, for one thing, all of us remember those teenage years and those songs that we fell in love with and the music scene that we were part of. So, in a certain way, music cuts through time like almost nothing else. You know, it makes us feel like we're back in an earlier moment.
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