Rebel Girl, by Kathleen Hanna

Written by: Lisa Melograno

As I dove into Kathleen Hanna‘s “Rebel Girl,” I was captivated by her vivid descriptions of her life, from childhood and beyond. Her recollections of the shows she watched, dance classes, music, and fashion struck a chord with me, evoking memories of my own upbringing. Hanna’s engaging narrative had me eager to delve further into her inspiring story. In this captivating memoir, Hanna offers a candid glimpse into her remarkable journey, marked by personal struggles, triumphs, and a relentless spirit that solidified her place in the punk rock scene and feminist movements.

As a musician, activist, and founding member of the bands Bikini Kill and Le Tigre, Hanna invites readers into her extraordinary life with an unapologetic voice and fearless storytelling. Hanna’s reflections on growing up in a turbulent home with an alcoholic father, who was a labor union leader, weave a powerful tale of strength amidst challenges. Kathleen Hanna was born in Portland and spent her early years in Maryland. During middle school, her sister overdosed on Jimsonweed and spent some time in a coma. As Hanna walked through the halls of her school, she would hear students discussing the incident. This event marked her first experience with “unwanted media training,” which she described as becoming “famous in a bad way.” Hanna’s family later moved back to Washington, and she started high school at Lincoln High School. She found the school to be filled with “mostly rich kids that knew each other since they were babies,” as she described it. When Hanna’s sister got married, she sang at the ceremony. After her performance, Walter Cole, her late cousin and the proprietor of Darcelle XV nightclub, praised her vocal talent. Hanna recalls him saying, “If you were a boy, I’d hire you right now to sing in my cabaret show.” She expressed feeling as if she had been “knighted by entertainment royalty.” This experience motivated Hanna to return to singing, as she realized it gave her a sense of purpose and something to live for.

In “Rebel Girl,”  Hanna invites readers on a candid journey through her college years, offering an intimate look into her personal evolution. As she pursues a photography major at Evergreen College, her memoir explores the defining moments that molded her identity and ignited her rebellious nature. From late-night sessions in the print room to the heartbreaking discovery of her roommate’s assault, her experiences range from volunteering at SafePlace‘s call center (a facility aiding victims of rape and domestic abuse) to the creation of zines, launching an art gallery, and forming a band. It was during this period that she crossed paths with her future Bikini Kill bandmates, Tobi Vail and Kathi Wilcox. Reko Muse, the gallery’s name, was a collaborative project among friends. For their grand opening, they decided to organize a concert, and Tammy Rae, an artist and close friend of Kurt Cobain, arranged for a local band, Nirvana, to perform at the gallery due to their significant following. It was at Reko Muse that Hanna first encountered the local band Nirvana and its lead singer, Kurt Cobain, marking the beginning of their friendship. Seeking refuge from her male roommate and hesitant to return home, she frequently stayed at Cobain’s apartment, which she shared with his new drummer, Dave Grohl. One night, in a state of drunken revelry, Hanna scrawled “Kurt smells like teen spirit” above his bed, drawing inspiration from a teenage girl’s deodorant ad she had seen with Tobi, who was Kurt’s girlfriend at the time. Kurt was later asked to use the phrase in a song, inadvertently sparking the creation of a legendary rock anthem. Furthermore, when Bikini Kill was asked to participate in the music video, they declined to avoid being objectified and to uphold their feminist principles. Hanna later regretted missing her final chance to see her friend Kurt Cobain. As Hanna navigated relationships and dedicated her time to volunteering at SafePlace, she found herself drawn to the ideals of the feminist movement. Volunteering at SafePlace was “gratifying but super upsetting.” She began journaling and writing poetry to cope. Unknowingly, the suppressed memories of past traumas inflicted by the men in her life started to resurface in her writing. Despite the emotional turmoil, it felt like she was “coming alive for the first time.” Tobi Vail’s fusion of punk and feminism in her songs left a lasting impression on Hanna, inspiring her to propose starting a band. With Kathi Wilcox joining their ranks, Bikini Kill was born.

In “Rebel Girl,” Hanna delves into her journey through music, activism, and feminism, shedding light on the challenges she faced as a woman in the predominantly male-dominated punk rock scene. She provides readers with a firsthand account of the hurdles she met in the music industry and highlights how she used her music and voice to combat sexism and empower women. Noticing the gender dynamics at her concerts, where males tended to dominate the front rows and harass the girls, Hanna began her performances with the empowering directive, “girls to the front.” This simple yet impactful gesture marked the dawn of the Riot Grrrl movement. The narrative explores the genesis and impact of Bikini Kill, from the iconic concert opening chant “Girls to the Front” to the practice of collecting addresses from attendees to distribute zines and updates on forthcoming shows. Drawing hearts and stars on one’s hands with a Sharpie at concerts signifies having received a postcard and being embraced as part of the community.

While on tour in Australia, Bikini Kill and The Beastie Boys both performed at the Summersault Festival, where Hanna first met Adam Horovitz of the Beastie Boys. She was enamored by him, considering him “the sexiest boy in the world,” despite his marital status at the time. Their paths crossed again after Horovitz’s marriage ended. When Hanna returned from the tour, she bought a Beastie Boys poster to admire him, kissing his face so much that the lips on the poster became distorted. During Horovitz’s first visit to Hanna’s apartment, he noticed the altered poster. Hanna initially tried to downplay it, claiming she bought it for her cousin. However, Horovitz, seeing the changes to his mouth, asked, “What’s wrong with my mouth?” Hanna tried to evade the question by suggesting water damage, to which Horovitz playfully responded, “Only on my mouth?” Hanna realized she had been caught in her lighthearted deception. Kathleen Hanna’s partnership with Adam Horovitz of the Beastie Boys brings a profound dimension to her story. Hanna recalls her surprise at his kindness, as it wasn’t something she had experienced often from men. Their relationship represents not only a shared passion for music and activism but also serves as a testament to the enduring power of love in the face of adversity. Hanna’s candid account of her battle with Lyme disease and the unwavering support from her husband during her darkest moments reveal a heartwarming aspect of her journey. Together, Hanna and Horovitz weathered storms and built a family, adopting a son named Julius.

“Rebel Girl” serves not only as a tale of personal development and self-realization but also as a narrative of collective mobilization and empowerment. Hanna’s portrayal is profoundly introspective, shedding light on her internal struggles and vulnerabilities while also illustrating the communal essence of the Riot Grrrl movement. Her narrative stands as a tribute to resilience, the significance of female solidarity, and the profound impact of art as a tool for societal transformation.

“Rebel Girl” transcends the boundaries of a mere memoir; it stands as a testament to resilience, empowerment, and the transformative force of self-expression. With unwavering courage and conviction, Kathleen Hanna’s narrative becomes a rallying cry for individuals daring to challenge the norms and embrace their distinct voices in a society that often tries to suppress them. In this captivating and profoundly personal memoir, Kathleen Hanna shines as a symbol of resilience and rebellion, underscoring the influence of our narratives in shaping our paths and motivating others to overcome challenges.

“Rebel Girl” stands as essential reading for those in pursuit of inspiration, empowerment, and the bravery to challenge conventional norms. As Hanna grapples with the complexities of fame, creativity, and personal struggles, “Rebel Girl” is a poignant exploration of resilience, love, and the transformative power of self-discovery. Her unwavering commitment to speaking her truth and challenging societal norms reverberates throughout the pages, inspiring readers to embrace their authentic selves and confront life’s obstacles with courage and defiance. In “Rebel Girl,”  Hanna emerges not only as a cultural icon but as a beacon of empowerment and authenticity. “Rebel Girl” is a compelling and inspiring account of Hanna’s life and career, showcasing her unwavering commitment to using her voice and platform to advocate for social change and gender equality. It is a must-read for fans of punk rock, feminism, and anyone interested in the intersection of music and activism. Kathleen Hanna’s unwavering courage and commitment to speaking her truth challenge societal norms, inspiring readers to embrace authenticity and face life’s obstacles with determination. Through her profound journey, Kathleen Hanna emerges as a symbol of resilience, urging us all to become rebels with a cause and fight for a more equal and expressive world. As Hanna navigated the complexities of fame, creativity, and personal struggles, her memoir stood as a call to action. “Rebel Girl” invites us to find our voice, own our stories, and reclaim our power in a world that often seeks to silence us. This captivating and deeply personal memoir is essential reading for those seeking inspiration, empowerment, and the courage to defy conventional norms.

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Speaking of change, “Shame Shame” is the most dramatic change that this band has probably ever taken with their sound. The first single off the album, it took fans by surprise when it first hit the airwaves. It’s subdued, it’s deep, it’s heavy. Truly unlike anything they have put out before, especially as the first taste of music from a new album. But it works. Somehow, it feels like a natural evolution of a band that comes with age. Deviating too much will destroy your fan base, but you can’t scream and shout forever. Finding that middle ground of sound is the key to longevity, and found it they have.

Back to a more familiar sound, “Cloudspotter” immediately hooks you in with an infectious guitar riff reminiscent of “Funk #49” by The James Gang.

Complete with signature Foo‘s chorus, Grohl screams “Swing swing guillotine queen / Cut me back down to size” as if he’s just swallowed a broken pint glass. The nitty gritty. The rock and roll we’ve come to love.

“Waiting On A War” might be the most “Foo Fighters” song on the album. It has everything you’d come to expect from their long list of anthems. A rising sound that starts at the lowest valleys and reaches the highest peaks. The singalong chorus that will no doubt have entire arenas screaming it back in unison. A feel that can only be described as “biblical”. It’s the quintessential track on this outing. The one that will be the odds on bet to last the longest on setlists moving forward.

From there, we go from the most recognizable, to the most obscure. The title track “Medicine At Midnight” is described by Dave himself as their “Let’s Dance” by David Bowie. It’s a Saturday night out at the club in the 80s with a modern twist. Heavily bass driven, a loose swing. Equipped with a snarl and grit of its own, but not in the way you would typically expect, it might just be the finest track on the LP. Again, switching gears completely, comes “No Son Of Mine.” A guitar riff from the depths of a Hell that was created by Lemmy himself, thunderous drum blasting holes through the speakers, and a signature punk rock wail from King Dave easily makes this the heaviest song on MAM. They might have went down new paths of musical discovery, but they’ll be goddamned if they can’t still kick out the jams.

“Holding Poison” might as well be considered the bratty sister of “Dear Rosemary,”  a track off of their 7th album, Wasting Light. It follows a similar structure, but with a bark and bite that the former was missing. It’s complex, angry, even vicious at times. Sure to be a fan favorite, expect to see this one in live setlists moving forward.

Changing gears yet again, we find ourselves “Chasing Birds.” This is the one subdued track that always appears on an FF album, a staple of the backside to calm the waters before we depart. Acoustic driven, an angelic feel. “The road to Hell is paved with good intentions / Dark inventions of mine / The road to hell is paved with broken parts / Bleeding hearts like mine.” Perfect for a contemplation of life.

We end our 10th journey with the Foo‘s on “Love Dies Young,” a chug along, pop-influenced rager. Despite the title, it has quite an uplifting feel and a hopeful demeanor. It’s a perfect high note to end the album on. A sense of hope and wonder for the future. A reminder to live in the now.

Whenever a band or artist become huge over the years, sometimes it can result in the general public forgetting the impact of their debut. Such is the case with Foo Fighters’ self-titled debut.

Let’s face it, everybody knows who Dave Grohl is. The man’s reputation is everywhere, and with almost 30 years in the business, it shows no signs of slowing. The body of work he has put together, from his time in Nirvana up to the Sound City documentary and soundtrack, and everything in between, as well as playing with everyone from Paul McCartney to John Paul Jones, is the sort of thing most musicians only dream of. While the argument could be made that it all started with Nirvana, I personally feel it started here.

Shortly after Nirvana disbanded, Grohl almost quit music. He didn’t want to be just a drummer in another band. Eventually he decided to start his own project, so, armed with a backlog of songs that he had, he booked some studio time and went about recording.

Now, there are a number of things that make this album stand out from subsequent Foo Fighters albums. For one, the recording of it. At this point, he had not yet formed an actual band; as a result, he played everything himself. Literally. With the exception of one guitar part, the debut album finds Grohl playing all drums, bass, guitars, and vocals. The results were certainly eye-opening; at the time (1995), this wasn’t as common a practice as it is now, and it showed just how much talent actually resided within the man. Secondly, the entire album was recorded in a week. Yup, a week. Nowadays we’re lucky if our favorite artist manages to record one part of a song in a week, let alone 16 songs total (four of those were B-sides, but still).

Then there was the buildup to the release. Rather than put his name on it, he decided to hide his identity by naming it “Foo Fighters”, and pressed 100 LPs and 100 cassettes, solely to give to friends for feedback. Obviously, his identity would soon be found out, and a bidding war took place between major labels. It was only after he signed a deal that the album was given a proper mix for release. Once a release was imminent, Grohl finally put a band together, consisting of former Germs and Nirvana guitarist Pat Smear, along with bassist Nate Mendel and drummer William Goldsmith, both from Sunny Day Real Estate, in order to perform live. As many know, the lineup wouldn’t last (if anything, it would take 6-7 years before Foo Fighters would end up having a solidified lineup).

When the album came out, it immediately garnered positive reviews. Despite critics drawing comparisons to Nirvana (understandable given how recent everything with them was), upon closer listen the comparisons don’t really hold up. This is a much different beast. For one thing, there is a much more pop aspect to it. Dave Grohl is an out and out rocker, without a doubt, but he’s one that knows how to craft rock into something that everyone can enjoy. One listen to “Big Me”, and the Mentos-inspired video that promoted it, showed that he was more than capable of coming up with straightforward, catchy tunes, as well as having a sense of humor that would become one of the most notable aspects of both himself and the band.

Then there’s the fact that, again, this album was the work of one man, while every following album would see recording done by the band as a whole. This causes the album to stand out due to having a sound all its own. It isn’t as clearly defined or produced as all subsequent albums, but that’s part of the appeal; no Foo Fighters album would ever sound like this one, due to the quickness in recording and mixing.

Overall, this is an album that is, in my opinion, excellent from start to finish. I love when I can’t pick any standout tracks in a case like this, because the entire album is just that good. If you need a reminder of just how things started, watch the video for “I’ll Stick Around” below; not only was it their very first video, but it’s a song that people always remember as soon as they hear it. Try to get them to remember it only by name, though, and it can be a bit difficult.

That’s not their fault, though. With the massive success that both Foo Fighters and Dave Grohl would go on to have, we sometimes forget where it all started, especially when it’s an album that was released almost 20 years ago. Fortunately for us, it is still there to be revisited and rediscovered, and stands as one of the most surprising and excellent debut albums from a man who would go on to prove just how much talent he has.

We all gotta start somewhere….