The political changes that have occurred in America during the last 100 years are intimately tied to music, the complex soundscape of our culture reflecting political upheaval and social change . As Jacques Attali said, “music is prophecy” (36), the mechanism through which a society’s fears, angers, and joys are refracted as sonic creation. One incident of music giving voice to a political movement was the connection between late 20th century feminists and the rising girl-rock scene blossoming in the punk underground. These women “made audible the new world” (36) that they wished to live in, a world where women are not only powerful, furious, and strong but understood and accepted as equal emotional and psychological beings. This research embodies the relationship between politics and sound because as a comparative study of the music and theories of feminists in the late 20th century, it illuminates the effect of an evolving sonic community on a crucial political movement.
This Clip of Bikini Kill Live is a prime example of how girl rockers of the punk underground were pioneering the political agenda of third wave feminists of the 80’s and 90’s. You can hear Kathleen Hanna, the band’s lead singer, shout “this is cellulite, this is what it look like…it’s real…you don’t see this on MTV!” before launching into “Don’t Need You”, a song about female autonomy. With words like “we don’t need your protection…does it scare you boys that we don’t need you?” these women used music, a passionate and direct wire to raw emotion, to empower themselves as free-thinking, radically independent individuals.
Attali, Jacques. “Noise: The Political Economy of Music.” Trans. Array The Sound Studies Reader. Jonathan Sterne. 1st ed. London and New York: Routledge, 2012. 29-39. Print.