Kathleen Hanna

I think it's complicated and I think it's important to acknowledge that we can get positive things out of really negative situations. And like the experience of being shot down by my dad and keeping going was something that I still hold in my heart to this day in a way that is fuel.

You know, I moved to Olympia, Washington to go to college and had a really thriving music scene. And they really defined punk in that town in a different way than I'd ever seen. I'd gone to punk shows in high school and it was like, you know, kind of B versions of the Sex Pistols, you know, straight white guys who are like, I'm going to spit on you. Yeah.

You know, I moved to Olympia, Washington to go to college and had a really thriving music scene. And they really defined punk in that town in a different way than I'd ever seen. I'd gone to punk shows in high school and it was like, you know, kind of B versions of the Sex Pistols, you know, straight white guys who are like, I'm going to spit on you. Yeah.

You know, I moved to Olympia, Washington to go to college and had a really thriving music scene. And they really defined punk in that town in a different way than I'd ever seen. I'd gone to punk shows in high school and it was like, you know, kind of B versions of the Sex Pistols, you know, straight white guys who are like, I'm going to spit on you. Yeah.

And it just was like a lot of toxic masculinity disguised as, you know, radicalness. So it's kind of like the beginning of the edgelord era. But yeah, when I moved to Olympia, there were all these kids who were making music and putting out records on small indie labels.

And it just was like a lot of toxic masculinity disguised as, you know, radicalness. So it's kind of like the beginning of the edgelord era. But yeah, when I moved to Olympia, there were all these kids who were making music and putting out records on small indie labels.

And it just was like a lot of toxic masculinity disguised as, you know, radicalness. So it's kind of like the beginning of the edgelord era. But yeah, when I moved to Olympia, there were all these kids who were making music and putting out records on small indie labels.

And they sort of defined punk not as a genre or a sound, a loud, angry, aggressive sound, but as an idea, as the idea that, you know, we don't have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves. So it's like, hey, let's put on a spoken word event. Let's put on a punk show at the laundromat.

And they sort of defined punk not as a genre or a sound, a loud, angry, aggressive sound, but as an idea, as the idea that, you know, we don't have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves. So it's like, hey, let's put on a spoken word event. Let's put on a punk show at the laundromat.

And they sort of defined punk not as a genre or a sound, a loud, angry, aggressive sound, but as an idea, as the idea that, you know, we don't have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves. So it's like, hey, let's put on a spoken word event. Let's put on a punk show at the laundromat.

It really was the town that gave me permission to do stuff. And I'd always wanted to be in a band, but sort of thought it was off limits. And this was the place that I saw people in bands just like walking around on the street. And I was like, well, they can do it. I can do it.

It really was the town that gave me permission to do stuff. And I'd always wanted to be in a band, but sort of thought it was off limits. And this was the place that I saw people in bands just like walking around on the street. And I was like, well, they can do it. I can do it.

It really was the town that gave me permission to do stuff. And I'd always wanted to be in a band, but sort of thought it was off limits. And this was the place that I saw people in bands just like walking around on the street. And I was like, well, they can do it. I can do it.

And at the same time, I was being really inspired by feminist performance artists like Karen Finley, who I saw live in Seattle and was just what this woman is doing on stage. going into from different voices, you know, getting naked and dumping chocolate and sprinkles on herself, you know, making fun of herself while also being incredibly powerful.

And at the same time, I was being really inspired by feminist performance artists like Karen Finley, who I saw live in Seattle and was just what this woman is doing on stage. going into from different voices, you know, getting naked and dumping chocolate and sprinkles on herself, you know, making fun of herself while also being incredibly powerful.

And at the same time, I was being really inspired by feminist performance artists like Karen Finley, who I saw live in Seattle and was just what this woman is doing on stage. going into from different voices, you know, getting naked and dumping chocolate and sprinkles on herself, you know, making fun of herself while also being incredibly powerful.

And so a lot of times when I first started being in Bikini Kill, I thought of myself as a feminist performance artist who was in a punk band.

And so a lot of times when I first started being in Bikini Kill, I thought of myself as a feminist performance artist who was in a punk band.

And so a lot of times when I first started being in Bikini Kill, I thought of myself as a feminist performance artist who was in a punk band.

Yeah, I mean, it was really pretty amazing because I was like, oh, this actually is a great way to continue the work that I'm doing at Safe Place when I'm not able to volunteer. So I felt like it was just working. I was still doing further work for Safe Place when I was doing counseling in an alleyway after a show. And that felt great to a certain extent.