In 1991, all you read about in the music press was grunge, grunge, grunge; but another descriptor began to pop up in magazine articles about the cutting edge, and it similarly involved distorted electric guitars and aggression. This music wanted to make you rock, but it also wanted to make you think — it was known as riot grrrl.

The riot grrrl movement began as a bi-coastal movement with young women from Washington state and Washington, D.C. promoting feminism through self-published ‘zines and punk rock. They formed a loose socio-political alliance — one of their main goals involved getting more women into the male-dominated punk scene — and took on the name “riot grrrl.” At the forefront was Kathleen Hanna, who had lived near D.C. but went to college in Olympia, Washington. She began her self-expression against sexism and injustice by writing poetry and performing spoken word, until someone suggested she wasn’t going to get heard that way — she needed a band.

Tobi Vail attended the same college and had founded a feminist ‘zine that Hanna greatly admired. Vail also played drums, and when her band broke up, she brought guitarist Billy Karren along to help form Bikini Kill in 1990 with Hanna and bassist Kathi Wilcox. They toured heavily and recorded some EPs and singles for the Kill Rock Stars label, and in 1993, punk/feminist icon Joan Jett produced a couple of songs with the band, including one called “Rebel Girl.”

“Rebel Girl” ended up becoming a riot grrrl anthem, an expression of love and admiration for a confident girl who represents revolution in the world — and in the singer’s heart and mind. In a time when gender flips were still rare, Bikini Kill had no problem choosing not to sing about a “rebel boy.”

There had been plenty of female bands before, but those in the riot grrrl movement were crusaders. And they put up with a lot so their little sisters in the next generation wouldn’t have to (quite as much).

Fight on? Right on.