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The First Minister is head of the Scottish Government and has ultimate responsibility for all policy and decisions.

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individual action versus collective action fiche 7

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écrivez à la professeure américaine à cette adresse email!

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2025 Superintendent’s Town Hall Meetings

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VOCABULAIRE ETLV

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How do eco-villages in North America preserve the environment, exploit it and adapt to it? How are those communities organised and what are their shared social, economical and environmental goals?

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How do eco-villages in North America preserve the environment, exploit it and adapt to it? How are those communities organised and what are their shared social, economical and environmental goals?

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CONSIGNES ET DOCS ECRITS

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EXPRESSIONS UTILISEES EN CLASSE

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Nouveau programme 2026 l homme et la nature / eco-villages

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Nouveau programme 2026 l homme et la nature / eco-villages

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Sous problématique/ ETLV :   To what extent has the role of the music industry in the USA contributed to empower  women ?

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Sous problématique/ ETLV :   To what extent has the role of the music industry in the USA contributed to empower  women ?

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Alanis Morissette is one of the key influences that helped shape the role of women in rock music during this new Millenium. Check out some of her musical influences below.

Which artists influenced Alanis Morissette

Alanis Morissette's third album, Jagged Little Pill (1995), was a massive hit and propelled her into stardom. Some of her direct influences were her closest musical predecessors, such as The Cranberries, Liz Phair, and Tori Amos. Also, other singers from previous generations, such as Joni Mitchell, Sinéad O'Connor and Kate Bush, had a great impact on Alanis' music.

The landscape in which Alanis Morissette rose to worldwide fame, in the mid-nineties, was dominated by alternative rock and more precisely, Grunge, which was really in crisis. Anyways, the main influences of Alanis were not so much the heroic bands of the time, like Nirvana or Pearl Jam, but the ones that had a "softer" sound. The Cranberries is perhaps the most direct reference we can find: great vocal melodies, sometimes strident guitars, sometimes not so much. Dolores O'Riordan's band set the context in which Alanis Morissette became one of the most recognizable female rock stars.

This is "a must" reference: As a direct and immediate antecedent to the "Alanis explosion" we have Liz Phair with Exile in Guyvile (1993). With a more low-sounding sound, Liz Phair's proposal was guitar-driven and simple rock, with smart lyrics and the necessary dose of pop. Exile in Guyvile was a minor hit that tested the ground for the massive album that Morissette would drop two years later.

Another major influence is Alanis Morissette's favorite guitarist and singer: Jeff Buckley. From its characteristic vocal inflections to the intimate nature of its songs, he is referred to throughout the Canadian singer's discography. Although the sound references are there, it is not so much that Alanis tries to imitate artists like Jeff Buckley (or also Bjork), but rather points to their lyrical styles as "subconscious", that is, free from reason.

Going further back in time, the influences of Alanis Morissette can be found in some women who were a reference for popular music of their time. The first one I'll mention is Sinead O'Connor, who Alanis is a huge fan. Regarding this Irish singer, we are talking about an excellent voice and a determined woman with character. Legend has it, Madonna encouraged Alanis Morissette to draw primarily from Sinead O'Connor's early career. The result? You Oughta Know and millions of sales.

Another singer who has influenced Alanis Morissette is Kate Bush. With remarkable originality and voice, it is a strong previous reference. It is in fact something very personal: when Alanis was a young teenager, it was upon listening to Kate Bush that she decided to become a singer in the first place. If you want to expand more on this, you can also check out the Kate Bush influence diagram.

Last but not least: For example, if you listen carefully to Coyote, the opening of Mitchell's album Hejira (1976), the link between the two performers is quite evident. Both share the same kind of recited or commented song that resembles Alanis Morissette tracks like Front Row or All I Really Want. With intimate and confessional lyrics accompanied by a guitar, Joni Mitchell is a must for Alanis. Still, it should be noted that on the contrary, Joni does not like Alanis very much.

Which artists were influenced by Alanis Morissette?

As a result of such a successful album, Alanis Morissette influenced alternative rockers like Paramore's Hayley Williams, Evanescence's Amy Lee, and Avril Lavigne. Also, pop singers like Taylor Swift, Katy Perry, Kelly Clarkson, and Florence + The Machine are inspired by the author of classic songs such as You Oughta Know, Hand in my Pocket, and other classic hits.

Suddenly the female singers began to find more space on the radios. If before Alanis Morissette the radio programs did not want to play her songs because they already had Sinead O'Connor or Tori Amos, now she slammed her way through. After Jagged Little Pill a whole new breed of singers, like Tracy Bonham, Meredith Brooks, and Michelle Branch, found more air time on the radio. Other singers, like Sheryl Crow, saw their sales skyrocket.

With her successful album Breakaway (2004), Kelly Clarkson took several of the elements that made Jagged Little Pill the classic that it is: strident guitars, elements of alternative rock with lyrics about heartbreak, fury, and introspection.

Pop was one of the genres that benefited the most from Alanis Morissette's music. For example, Taylor Swift, who had the pleasure of singing a duet with Alanis Morissette, has her as a reference that fueled the spark of her predecessors. And of course, how the most current "heartbreak pop artist" could not have been inspired by the author of You Oughta Know. Katy Perry also says that Alanis "inspired her to speak her truth." In other words, during the mid-nineties, Alanis Morissette's music became a catalyst within an industry primarily dominated by male artists. Although Alanis was not the first woman to become a famous singer, her impact in 1995 changed the whole music landscape.

And the list of Morissette's fans continues: Florence Welch from Florence + The Machine spoke of Alanis as one of her heroines as a young woman. Well, if we speak in a confessional tone, we can speak of exorcising ghosts by talking about them, making them public.

The singer from Paramore, Hayley Williams, stated that Alanis was a defining moment for women in rock. Well, nobody expected this explosion, especially coming from a teenage pop singer like Alanis was at the beginning of her career. But there it was. And also as Hayley Williams tells, that great hit was absorbed by the industry of the time.

Within the context of the late nineties and early 2000s, Evanescence knew how to channel a sound reminiscent of Nu Metal. In addition to the clear references to Korn and his fellow Linkin Park, it is hard to think that Amy Lee's band would achieve such success with their 2003 debut Fallen without the background of Alanis Morissette's third album. Even Alanis's songs like Baba or Would Not Come (from her next record, Supposed Former Infatuation Junkie, 1998) sound like songs that Evanescence could play.

Finally, we will mention Avril Lavigne, who had her career peak in the early 2000s with her album Let Go and her single Complicated, she commented that Jagged Little Pill is indeed her favorite album. They both do it: a kind of rock and pop by way of everyday occurrences, observations of every day, and notes from an intimate diary.

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Alanis Morissette is one of the key influences that helped shape the role of women in rock music during this new Millenium. Check out some of her musical influences here.

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Freak show, term used to describe the exhibition of exotic or deformed animals as well as humans considered to be in some way abnormal or outside broadly accepted norms. Although the collection and display of such so-called freaks have a long history, the term freak show refers to an arguably distinct American phenomenon that can be dated to the 19th century.

The term freak appears to be descended from the Old English frician, "to dance." Freking signified cavorting, sudden movement, or capricious behaviour. During the Enlightenment in Europe and its attendant efforts at biological classification during the 18th century, as naturalists and others attempted to find specific categories for all life-forms, organisms that failed to match a perceived species average were often referred to as lusus naturae, cavorts, or freaks of nature. In the early 19th century, some naturalists toured Europe and North America with examples of exotic or unique animals, charging admission to view their "cabinets of curiosities." Humans with bodies that were perceived to deviate significantly from an understood norm were often grouped with those lusus naturae shows, and from those shows developed a variety of different performance genres that have become collectively known as the freak show.

Early freak shows occupied a very general category that could refer to nontheatrical exhibits such as fetuses in jars or exotic or deformed animals as well as exhibitions of humans. In this context, the term freak was considered a pejorative way of referring to humans, in performance or not, and was rarely used by professional performers or promoters. Shows of the early 19th century that are today considered freak shows were known at that time as raree shows, pit shows, or kid shows. Freak show did not come into use until close to the end of the 19th century, after the death of the American showman P.T. Barnum; Barnum is not known to have used the term himself.

Individuals who can be classed as freak-show performers (also called "human curiosities") were present in America as early as 1738, but they were not highly professionalized, and they appeared more often in the context of scientific lectures than in theatrical performance. During the middle part of the 19th century, many such individuals gained great legitimacy, respectability, and profitability by performing their acts within the context of a new form of American entertainment known as the Dime Museum. Others, however, did not achieve such success and were instead, sometimes as involuntary performers, exploited by promoters and audiences.

In 1835 Barnum exhibited Joice Heth, ostensibly a 161-year-old African American woman who had been the nurse of George Washington, in the hall of a hotel in Bridgeport, Connecticut. She was a tremendous success, partially because of her flamboyant promotion and partially because her tales of Washington's youth were told with such integrity and intimacy that a controversy over her true identity was kept alive for decades. The controversy was resolved when an autopsy revealed that she was merely 80, but Heth's fame increased after her death, and Barnum's skillful protestations of innocence produced widespread publicity and interest.

Following his success with Heth, Barnum became a promoter of theatricals and variety entertainments. In 1841 Barnum purchased Scudder's American Museum in New York City. That moment is considered the beginning of the "Golden Age" of the freak show and its performers, which would persist until the 1940s. Among those at the museum were the notorious and controversial Broadway actor Harvey Leach, also known as Hervio Nano; Mademoiselle Fanny (who turned out to be a perfectly normal orangutan); Native American and Chinese "families"; giants, such as Jane Campbell ("The largest Mountain of Human Flesh ever seen in the form of a woman"), a 220-pound four-year-old known as the Mammoth Infant, the Shakespearean actress and "sentimental soloist" Anna Swan, and Captain Martin Bates; Isaac Sprague, the "Living Skeleton"; R.O. Wickware, the "Living Phantom"; a variety of individuals with dwarfism; the "Albino Family"; African Americans with vitiligo; the "armless wonder" S.K.G. Nellis; a cadre of persons with ambiguous sexual characteristics, such as bearded ladies and hermaphrodites; clairvoyants; "Lightning Calculators"; and many others. Without question, the greatest of all the American Museum's stars was Charles Stratton, better known as General Tom Thumb. Stratton appeared not in the traditional pit show or cabinet of curiosities but was celebrated around the world as a talented actor in highly theatrical, expensively produced melodramas, and he appeared in performances before American presidents and industrial barons as well as European and Asian royalty.

By 1860 the human curiosity-appearing in a museum, on the legitimate stage, or in carnival sideshows (so named because they required a separate fee for entry from the main circus or carnival midway)-had become one of the chief attractions for American audiences. A major moment during that period was the "Revolt of the Freaks" in 1898, when a collection of the 40 or so most-famous performers in the world staged a labour strike while on tour in London, demanding that the management of the Barnum and Bailey circus remove the term freak from promotional materials for their shows. A campaign to produce a new name was instigated, and the term prodigy was adopted by the so-called Council of Freaks. The intensity of this controversy reflected and magnified the popularity of freak shows, and, indeed, the episode may have been a publicity stunt.

By the middle of the 20th century, freak shows had suffered a major decline in popularity. Many factors contributed to the decline, including the emergence of the medical model of disability, which replaced the freak show's narrative of wonder with one of pathology. Advances in roller-coaster and other mechanical amusement-park ride technology (which helped to make rides cheaper to run and more profitable than freak shows) and the rise of cinema and television were probably even more significant.

During the second half of the 20th century, some efforts were made to appropriate the term freak by those who sought to celebrate an intentional rejection of conventional, conformist ideals, but the word's pejorative meaning persisted, and activists of the disability rights movement tended to avoid freak as a term of hatefulness. The relationship between freak-show performance and disability is ultimately a complicated one, because not all performers were persons with disabilities. In the 21st century, the freak show has survived in the United States and elsewhere as part of the avant-garde underground circus movement.

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Freak show, term used to describe the exhibition of exotic or deformed animals as well as humans considered to be in some way abnormal or outside broadly accepted norms. Although the collection and display of such so-called freaks have a long history, the term freak show refers to an arguably

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Scottish independence movement as of May 2023

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T HE UNION between Scotland and England in 1707 created the United Kingdom. Since then Scotland has provided prime ministers, such as Gordon Brown, intellectual luminaries like Adam Smith and David Hume and a large proportion of the British who governed India. More recently Scotland, now with 5.5m people, has grown restive as a constituent of a country with a population ten times larger that often votes for policies it doesn't like. Separatists were strong enough to push for a referendum on independence, which was held in 2014, but not strong enough to win it. Scots rejected independence by a vote of 55% to 45%. Britain has since left the European Union, carrying out a policy that Scotland really doesn't like. Nevertheless, the movement for Scottish independence has run into trouble. The Scottish National Party (SNP), which champions independence and leads Scotland's government, is in disarray. Britain's Supreme Court has ruled that Scotland cannot hold a second referendum without the consent of the British government. But nationalism remains potent and will not go away. These six books of history, politics and literature deal in different ways with the future of Scotland and, by extension, that of the United Kingdom.

The Battle for Scotland. By Andrew Marr. Penguin; 288 pages; £15.99

In 1314 Robert the Bruce defeated the English at the Battle of Bannockburn, securing independence for Scotland. Six years later, in the Declaration of Arbroath, he appealed to the pope to recognise his claim to the Scottish throne. "As long as but a hundred of us remain alive," he wrote, "never will we on any conditions be brought under English rule. It is in truth not for glory, nor riches, nor honours, that we are fighting, but for freedom-for that alone, which no honest man gives up but with life itself." Scots today have little in common with Bruce who, like most medieval monarchs, pillaged and murdered in his fight for "freedom". But as Andrew Marr, once a journalist at The Economist, points out, his memory matters in modern politics. First published in 1992, Mr Marr's book argued for home rule at a time when devolution, let alone independence, seemed a distant prospect. In fact, just five years later the Scots backed the formation of a Scottish Parliament; ten years after that they handed control of it to the SNP. Mr Marr begins with a romp through history, then focuses on the 20th century and the birth of modern nationalism. His wry and even-handed book is a fine introduction.

Independence or Union: Scotland's Past and Scotland's Present. By T. M. Devine. Penguin; 320 pages; £10.99

On May 1st 1707, the day that the Treaty of Union between Scotland and England was enacted, the bells of St Giles Cathedral in Edinburgh are said to have rung to the tune of "Why Should I Be So Sad On My Wedding Day?" At the time, writes Thomas Devine, the union was a "marriage of convenience", reluctantly accepted by the impoverished Scottish nobility. It grew stronger in later centuries, and was not seriously challenged until the latter half of the 20th century. Sir Thomas is Scotland's pre-eminent historian. This book was published in 2016, after the referendum failed and the SNP went on to win all but three Scottish seats in Britain's parliamentary election of 2015. Its second half charts the impact of Margaret Thatcher (whose free-market economics alienated the collectivist Scots), devolution and the independence referendum. All of Sir Thomas's many books are excellent. Start with this one.

The Case for Scottish Independence: A History of Nationalist Political Thought in Modern Scotland. By Ben Jackson. Cambridge University Press; 220 pages; £18.99

The SNP's dominance of Scottish politics is a recent phenomenon. Unlike many separatist movements, the modern independence campaign does not exist to "defend a threatened ancestral culture" nostalgic for heroes like Bruce but is necessary because of a "deep political divergence" from the rest of Britain, says Ben Jackson. His book takes the intellectual pedigree of Scottish nationalism seriously. It contends that the union threatens Scotland's national identity and institutions; that Britain failed to modernise after losing its empire; and that Scottish nationalism is a left-wing project-first a socialist, and more recently a social-democratic one. It also considers nationalists' complex (and sometimes contradictory) attitude to sovereignty: on the one hand they reject rule from London by parties they did not elect, but on the other they regard as outdated the notion of absolute sovereignty that led British voters to vote for Brexit. The SNP promotes the idea of a left-wing independent Scotland in the EU. Mr Jackson's book, which is academic rather than popular in tone, does a good job of explaining why.

Should Auld Acquaintance Be Forgot: The Great Mistake of Scottish Independence. By John Lloyd. Wiley; 224 pages; $25 and £20

This is the case for unionism, made in the strongest terms. John Lloyd, a journalist at the Financial Times, casts the union of 1707 as the engine of the Scottish enlightenment in the 18th century and of the country's manufacturing boom in the 19th. He counters the argument that Englishness puts the Scots "in a political straitjacket which denies them the possibility of being fully themselves". He gives short shrift to the notion that the two nations are fundamentally politically different. The difficulties of launching a new state are laid bare. The author reckons that the Barnett formula, which allocates to Scotland a higher level of government spending per person than to England, subsidises the country to the tune of £8-10bn ($10-12.5bn) a year. And Mr Lloyd challenges the idea that most nationalists subscribe to the high-minded civic nationalism promoted by the SNP. He sees evidence of simple anti-English bias. But the book is unjustifiably indulgent of English nationalism, which Mr Lloyd says has been thwarted by the yoking of England to "the three Celtic statelets"-Scotland, Wales and Northern Ireland. Unlike the Celts, he writes, the English have had no choice but to focus their patriotism on multinational Britain.

Break Up: How Alex Salmond and Nicola Sturgeon Went to War. By Kieran Andrews and David Clegg. Biteback Publishing; 368 pages; £20

Why bother reading a book about two former leaders of the SNP? Alex Salmond and Nicola Sturgeon, who were also first ministers of Scotland, may be compelling figures but both have passed their political zenith. (Ms Sturgeon resigned abruptly in February 2023 after almost a decade in power.) This book is about the women who accused Mr Salmond of sexual assault and, in the case of two of them, of attempted rape. He was acquitted in court on all 13 counts against him, but the case painted a disturbing picture of the culture of the government he presided over as first minister between 2007 and 2014. This is also a story about the decades-long bond between Mr Salmond and Ms Sturgeon, his protégée and deputy. Mr Salmond's decision to take Ms Sturgeon's government to court over its handling of the allegations ended that friendship. More than all this, "Break Up" is a meticulously reported and gripping book about the inner workings of the SNP in government and of the Scottish civil service. The party has been in power for more than 15 years; it is not synonymous with independence, but without it the nationalist cause would be weakened, perhaps fatally. The SNP has long been known for discipline; this book explains how that fell apart.

Lanark: A Life in Four Books. By Alasdair Gray. Canongate; 592 pages; $30 and £20

Alasdair Gray was an avowed nationalist. "Lanark", his first novel, was three decades in the writing. He began an early version while at art school in the 1950s, using the working title "Portrait of the Artist as a Young Scot". The four books that make up the novel are presented out of order. The third and fourth in chronological order appear in the position of bookends. They are set in the dreamlike city of Unthank, a distorted simulacrum of the post-war Glasgow in which Gray grew up. Lanark, their protagonist, has no memory, and takes his name from a photograph of the Scottish town in a train carriage in which he wakes up. The middle books are more realistic, drawing on Gray's own experiences.

Glasgow, Scotland's largest city, has often been dismissed as poor, sectarian and crime-ridden. It is much more than that. Gray saw it as a cultural centre on a par with London or Paris. In 2014 it was one of just four local-authority areas to vote for independence. Gray's novel is a thorny way of getting to know the city, but worth the time it demands.
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Outlander

Genre

Historical fiction

Drama

Adventure

Fantasy

Romance

Based on

Outlander
by Diana Gabaldon

Developed by | Ronald D. Moore

Starring

Caitríona Balfe

Sam Heughan

(See full cast list)

Opening theme | "The Skye Boat Song"
Composer | Bear McCreary

Country of origin

United Kingdom

United States

Original languages

English

Scots

Scottish Gaelic

French

No. of seasons | 6
No. of episodes | 75 (list of episodes)
Production

Executive producers

Ronald D. Moore

Jim Kohlberg

Andy Harries

Maril Davis

Ira Steven Behr

Toni Graphia

Anne Kenney

Matthew B. Roberts

Marigo Kehoe

Producers

David Brown

Guy Tannahill

Production locations

Scotland

Prague, Czech Republic

England

Cape Town, South Africa

Cinematography

David Higgs

Neville Kidd

Denis Crossan

Martin Fuhrer

Stephen McNutt

Alasdair Walker

Michael Swan

Stijn van der Veken

Michael Coulter

Editors

Michael O'Halloran

Liza Cardinale

Melissa Lawson Cheung

Stewart Schill

Fabienne Bouville

Miklos Wright

Nathan D. Gunn

Micky Blythe

Gena Bleier

Tammis Chandler

Alanah Jones

Camera setup | Single-camera
Running time | 53–90 minutes

Production companies

Sony Pictures Television

Left Bank Pictures

Story Mining and Supply Company

Tall Ship Productions

Distributor | Sony Pictures Television
Release
Original network | Starz

Original release

August 9, 2014 –
present

Outlander is a historical drama television series based on the ongoing novel series of the same name by Diana Gabaldon. Developed by Ronald D. Moore, the show premiered on August 9, 2014, on Starz. It stars Caitríona Balfe as Claire Randall, a married former Second World War military nurse in Scotland who, in 1945, finds herself transported back in time to 1743. There she encounters, falls in love with, and marries a dashing Highland warrior named Jamie Fraser (Sam Heughan), a Tacksman of Gabaldon's fictionalized version of Clan Fraser of Lovat, and becomes embroiled in the Jacobite rising.

The 16-episode first season of the television series (released as two half-seasons) is based on the first novel in the series, Outlander (known as Cross Stitch in the United Kingdom). The second season of 13 episodes, based on Dragonfly in Amber, aired from April to July 2016. The 13-episode third season, based on Voyager, aired from September to December 2017. The 13-episode fourth season, based on Drums of Autumn, aired from November 2018 to January 2019. The fifth season of 12 episodes, based on The Fiery Cross, aired from February to May 2020.

The series has been renewed for an 8-episode sixth season and a 16-episode seventh season to be based on A Breath of Snow and Ashes and An Echo in the Bone, respectively. The sixth season premiered on March 6, 2022.[1] In February 2022, it was reported that a prequel series is in the works.[2]

Plot[edit]

Season 1 (2014–15)[edit]

In 1945, Claire Randall, who had formerly served as a nurse in the British Army during the Second World War, and her husband Frank are visiting Inverness, Scotland, when she is carried back in time to 1743 by the standing stones at Craigh na Dun (in what is now Tay Forest Park). She falls in with a group of rebel Highlanders from Clan MacKenzie (a fictionalization of the real Clan MacKenzie), who are being pursued by British redcoats led by Captain Jonathan "Black Jack" Randall. Randall turns out to be Frank's ancestor.

Out of necessity Claire marries a Highlander, Jamie Fraser, but they quickly fall in love. Clan MacKenzie suspect her of being a spy, but retain her as a healer, which prevents her from attempting to return to her own time. Knowing that the Jacobite cause is doomed to fail, she tries to warn them against rebellion. Her husband Jamie is captured, tortured, and raped by the sadistic Randall, but Claire and his clansmen rescue him. Claire tells Jamie that she is pregnant and they set sail for the Kingdom of France.

Season 2 (2016)[edit]

In 18th century Paris, Claire and Jamie try to thwart the Jacobites by subverting the funds that King Louis XV of France is likely to provide. Jamie becomes the confidant of Charles Stuart, but the Frasers fail to prevent the risings. Randall reappears in Paris, but Claire makes Jamie swear to keep him alive until Frank's descent is assured. She achieves this by convincing Randall to marry Mary Hawkins. Claire and Jamie's daughter Faith, is stillborn and she and her 18th century husband return to Scotland. The Jacobites win the Battle of Prestonpans. Jamie and Claire also adopt a young French boy named Claudel, who Jamie re-names Fergus.

Before the Battle of Culloden, Jamie convinces Claire, pregnant again, to return to the 20th century. Jamie decides to die fighting at Culloden with his clan. Back in her own century, Claire tells Frank about her time travel. He asks her to forget Jamie, and let him raise her child as his own. Twenty years later, Frank has died in a car accident. Claire takes her 20-year-old daughter Brianna to Scotland. Claire discovers that Jamie did not die at Culloden and vows to return to him.

Season 3 (2017)[edit]

Jamie kills Randall at Culloden and is gravely injured, but spared execution. At Ardsmuir prison, he befriends the governor, Lord John Grey, who later paroles him to work at an English estate. There, Jamie is manipulated into a sexual liaison and fathers an illegitimate son, William. Jamie returns to Scotland and becomes a printer.

In 1948, Claire enrolls in medical school in Boston, Massachusetts. Frank is killed in a car accident while Brianna is in college. With the help of Roger Wakefield, Claire finds clues to Jamie's fate after Culloden. She returns to the 18th century, and discovers Jamie has married a widowed Laoghaire. Claire's return nullifies their union as illegal. They try to retrieve some hidden treasure so that he can placate Laoghaire with a settlement, but Jamie's nephew Ian is captured by pirates and taken to the Caribbean. Jamie and Claire follow, and manage to rescue him from Geillis, who had escaped burning at the stake in season one. Claire and Jamie sail for Scotland, but are shipwrecked on the coast of Georgia.

Season 4 (2018–19)[edit]

In the British colony of North Carolina, Claire and Jamie seek to return to Scotland with Fergus, Marsali, and Ian. They visit the plantation of Jamie's aunt Jocasta Cameron, where they encounter enslaved Africans. Claire and Jamie decide to leave, and claim land that they name Fraser's Ridge, which is already inhabited by Cherokee. Jamie reunites with Murtagh, now a blacksmith and leader of the Regulator Movement. Lord John visits with Jamie's son, Willy.

In the 1970s, Brianna rejects Roger's marriage proposal. After learning her parents will die in a fire, Brianna travels through the stones. When Roger discovers Brianna has left, he follows her. They meet in Wilmington, North Carolina, and enter into handfast marriage. Shortly after, they get into an argument, and Roger leaves. In his absence, Stephen Bonnet rapes Brianna. She reunites with her mother and finally meets her biological father, Jamie. Brianna discovers she is pregnant. Roger goes to Fraser's Ridge, where Brianna's maid Lizzie, wrongly assumes that he is the rapist. Lizzie informs Jamie, who beats Roger. Young Ian sells Roger to the Mohawk. Discovering their mistake, they set off to rescue Roger, and Ian trades his freedom for Roger's. Roger and Brianna are reunited at Jocasta's plantation, and Jamie receives instructions to kill Murtagh, who is a fugitive.

Season 5 (2020)[edit]

Jamie and Claire fight to retain their home at Fraser's Ridge as the American Revolutionary War looms on the horizon. Brianna and Roger marry, and Governor Tryon further pushes Jamie to hunt down Murtagh, forcing Jamie to gather up a militia and counteract the Regulators. He struggles to balance keeping his godfather safe and fulfilling his duties to the British, especially under the eye of Lieutenant Knox, who is determined to find and kill Murtagh. Despite Murtagh's pleas for Jocasta to return his love for her, she moves forward with her fourth marriage, choosing the safety and security of her plantation's future over his idealism. Jamie's loyalties are pushed to the breaking point at the Battle of Alamance, when Roger's attempt to warn Murtagh fails, and Murtagh is shot dead. Roger is captured and mistakenly hanged by the British; he survives, but is left traumatized by the experience. Jamie is left devastated in the months following the battle.

Meanwhile, Roger and Bree's relationship is put to the test as there are signs of Stephen Bonnet's reappearance, forcing Brianna to take matters into her own hands when she is captured by him. Eventually, Bree and Roger decide to go back through the stones when they realize Jemmy can too, as the future will be much safer for their son. Their attempt fails, and the two, taking this as a sign of fate, decide to stay at Fraser's Ridge, along with their large family. Young Ian returns from his time with the Mohawk, and learns the truth about Claire, Brianna, and Roger's origins when he confronts them with information passed to him by the Mohawk. Claire continues to subvert conventional medical practices by producing penicillin and covertly providing medical advice under a pseudonym, but her subversive advice backfires on her. Claire is abducted and gang raped by Lionel Brown and his men, but is subsequently rescued by Jamie, Fergus, Roger, and the other men of the Ridge. Though Jamie returns Lionel's body to Richard, Lionel's brother and mayor of Brownsville, Richard subtly threatens Fraser's Ridge and Jamie's family.

Cast and characters[edit]

Caitríona Balfe as Claire Fraser

Sam Heughan as James "Jamie" Fraser

Tobias Menzies as Frank Randall (seasons 1–4)[a] and Jonathan "Black Jack" Randall (seasons 1–3)

Graham McTavish as Dougal MacKenzie (seasons 1–2) and William "Buck" MacKenzie (season 5)

Duncan Lacroix as Murtagh Fitzgibbons Fraser (seasons 1–5)

Grant O'Rourke as Rupert MacKenzie (seasons 1–3)[b]

Stephen Walters as Angus Mhor (seasons 1–2)

Gary Lewis as Colum MacKenzie (seasons 1–2)

Lotte Verbeek as Geillis Duncan a.k.a. Gillian Edgars (seasons 1–3)[c]

Bill Paterson as Edward "Ned" Gowan (seasons 1, 3)[d]

Simon Callow as Clarence Marylebone, Duke of Sandringham (seasons 1–2)[e]

Laura Donnelly as Janet "Jenny" Fraser Murray (seasons 1–3)[f]

Douglas Henshall as Taran MacQuarrie (season 1)

Steven Cree as Ian Murray (seasons 1–4)[g]

Stanley Weber as Le Comte St. Germain (season 2)

Andrew Gower as Prince Charles Edward Stuart (seasons 2–3; guest season 6)[h]

Rosie Day as Mary Hawkins (season 2)

Dominique Pinon as Master Raymond (season 2)

Frances de la Tour as Mother Hildegarde (season 2)

Nell Hudson as Laoghaire MacKenzie (seasons 2–4; recurring season 1)[i]

Clive Russell as Simon Fraser, Lord Lovat (season 2)[j]

Richard Rankin as Roger MacKenzie (season 2–present)[k]

Sophie Skelton as Brianna "Bree" Fraser MacKenzie (season 2–present)[l]

David Berry as Lord John Grey (seasons 3–present)[m]

John Bell as Ian Fraser Murray (season 3–present)

César Domboy as Fergus Claudel Fraser (season 3–present)

Lauren Lyle as Marsali MacKimmie Fraser (season 3–present)

Richard Dillane as Captain Raines (season 3)

Edward Speleers as Stephen Bonnet (seasons 4–5)

Maria Doyle Kennedy as Jocasta MacKenzie Cameron (season 4–present)[n]

Colin McFarlane as Ulysses (seasons 4–5)

Natalie Simpson as Phaedre (season 4)

Tantoo Cardinal as Adawehi (season 4)

Caitlin O'Ryan as Lizzie Wemyss (season 4–present)

Braeden Clarke as Kaheroton (seasons 4, 6)[o]

Gregory Dominic Odjig as Satehoronies (season 4)

Billy Boyd as Gerald Forbes (seasons 4–5)[p]

Carmen Moore as Wahkatiiosta (season 4)

Tom Jackson as Tehwahsehwkwe (seasons 4, 6)[q]

Yan Tual as Father Alexandre Ferigault (season 4)[r]

Sera-Lys McArthur as Johiehon (season 4)[s]

Chris Larkin as Richard Brown (season 5–present)

Ned Dennehy as Lionel Brown (seasons 5–6)

Mark Lewis Jones as Tom Christie (season 6–present)

Glen Gould as Chief Bird (season 6–present)

Simon R. Baker as Still Water (season 6–present)

Gail Maurice as Tsotehweh (season 6)[t]

Production[edit]

Development[edit]

In July 2012, it was reported that Sony Pictures Television had secured the rights to Gabaldon's Outlander series, with Moore attached to develop the project and Jim Kohlberg (Story Mining and Supply Co) producing.[3] Sony completed the deal with Starz in November 2012,[4] and Moore hired a writing team in April 2013.[5] That June, Starz picked up the Outlander project for a sixteen-episode order,[6] and in August it was announced that John Dahl would be directing the first two episodes.[7] Starz CEO Chris Albrecht later said that he had green-lit several genre projects, including Outlander, to shift the network's series development toward "audiences that were being underserved" to "drive a real fervent fan base that then becomes the kind of advocacy group for the shows themselves".[8]

Calling it "a different kind of show than has ever been on, in my memory", Albrecht believed that Outlander's combination of fantasy, action, a strong central romance and a feminist focus would set it apart.[8] Another distinguishing feature of the show is its use of Scottish Gaelic. Àdhamh Ó Broin is the language consultant[9] and Griogair Labhruidh sang in Gaelic on the second season's soundtrack.[10]

On August 15, 2014, after only the pilot episode had aired, the network renewed the series for a second season of at least thirteen episodes, based on the second book in Gabaldon's series, Dragonfly in Amber.[11] On June 1, 2016, Starz renewed the series for a third and fourth season, which adapt the third and fourth Outlander novels, Voyager and Drums of Autumn.[12]

On May 9, 2018, Starz renewed the series for a fifth and sixth season, which adapt The Fiery Cross and A Breath of Snow and Ashes, respectively, and each season to consist of twelve episodes.[13]

On March 14, 2021, the series was renewed for a seventh season, originally to consist of 12 episodes, and will adapt the seventh novel, An Echo in the Bone.[14] On June 1, 2021, Starz announced the sixth season is scheduled to premiere in early 2022 with a shortened eight-episode season while the seventh season consists of 16 episodes.[15] On November 22, 2021, Gabaldon announced that the sixth season will premiere on March 6, 2022.[1]

Writing[edit]

Moore said of the pilot: "There's a lot of things we did in the first thirty to forty minutes that aren't in the book or are compilations of things that happened in the book". He emphasised that he did not want to present the time-travel dimension in a traditional special effects-laden science fiction manner.[16] Describing the adaptation of the first season as "straightforward", he explained: "it was always kind of clear what the basic structure was: Claire's trying to get home, then she meets this guy, now she's falling in love, now she has a conflict, will she go home. You lay it out in a very linear fashion".[17] Regarding the darker tone of the season's second half, he said: "the show becomes more complicated and the emotional journey more wrenching".[18]

Regarding the second season and the source novel Dragonfly in Amber, Moore said:

The book is a more complicated structure in terms of how Diana [Gabaldon] wrote it ... So it was not as easy an adaptation as the first season was ... Book 2 is just a more complex book. It's laid out very differently, as a result it took more wrangling to try to figure out how to translate this particular story into our season. There were more complications, there were more characters ... It was a bigger task. The thing that gives me the most comfort is that Diana likes it a lot. She had said, 'Oh, I really liked the way you did it. it was a difficult plot, I know, but I think you really found the essence of it. You really found the through line that really defines what this part of the journey is.' ... It's not going to be a literal adaptation because I don't think that's possible with the second book ... But I think it's very much the same story, the major characters are all represented, the major scenes are all represented, and it still gets you to all the same places you want to go.[17]

Gabaldon was employed as consultant to the TV production.[19] When asked in June 2015 about the adaptation of the first season, she said: "I think they did condense it very effectively ... I ended up getting most of the things that I felt strongly about in there. There were only a few instances where the most important stuff in my opinion didn't get in".[20] In March 2015, she said of the scripts for season two: "The Parisian stuff is very good, and in fact I'm deeply impressed by the outlines I've seen ... I think they've done a wonderful job of pulling out the most important plot elements and arranging them in a convincing way".[21] Gabaldon wrote the screenplay for the episode "Vengeance is Mine".[22]

According to Moore, the writing and pre-production for season four began while season three was still in active production.[23] Gabaldon wrote an episode for the fifth season.[24]

Casting[edit]

On July 9, 2013, it was announced that Sam Heughan had been cast as Jamie Fraser, the male lead.[25] Tobias Menzies was the second actor cast, on August 8, in dual roles of Frank and Jonathan Randall.[26] Stephen Walters and Annette Badland were announced in the recurring roles of Angus Mhor and Mrs. Fitzgibbons on August 29, 2013, with Graham McTavish and Gary Lewis announced as the MacKenzie brothers on the September 4.[27][28] Series female lead Claire Beauchamp Randall was to be portrayed by Caitríona Balfe as announced on September 11, 2013.[29] The series later added Lotte Verbeek as Geillis Duncan and Laura Donnelly as Jamie's sister Jenny in October 2013.[30]

In December 2013, Simon Callow was cast in the supporting role of Duke of Sandringham,[31][32] and Entertainment Weekly reported in April 2014 that Steven Cree would portray Ian Murray.[33] Bill Paterson was cast as lawyer Ned Gowan in June 2014.[34][35] Author Gabaldon has a cameo as Iona MacTavish in the August 2014 episode "The Gathering".[36] In August 2014 it was announced that Frazer Hines had been cast in the role of a prison warden in an episode to air in 2015. From 1966 to 1969, Hines had portrayed the Doctor Who character Jamie McCrimmon, who Gabaldon said had inspired the setting of the Outlander series and the character of Jamie Fraser.[37] Hines plays Sir Fletcher Gordon, an English prison warden, in the May 2015 episode "Wentworth Prison".[38]

In June 2015, the series cast Andrew Gower as the Jacobite pretender Prince Charles Edward Stuart;[39] Robert Cavanah as Jamie's Scottish cousin Jared, a wine merchant and Jacobite living in Paris;[40] Margaux Châtelier as Annalise de Marillac, Jamie's French ex-lover;[41] and Laurence Dobiesz as Alex Randall, Black Jack's younger–and gentler–brother.[42] Other cast added for season 2 include Romann Berrux as the French pickpocket Fergus,[39] Rosie Day as the baronet's daughter Mary Hawkins,[43] Stanley Weber as Le Comte St. Germain,[44] Dominique Pinon as healer Master Raymond,[39] Marc Duret as French Minister of Finance Joseph Duverney,[41] Frances de la Tour as Mother Hildegarde,[45] and Audrey Brisson as Sister Angelique.[46] In July 2015, Lionel Lingelser was cast as King Louis XV of France.[47] Moore revealed in June 2015 that Verbeek would be returning in the role of Geillis.[48] Richard Rankin was cast as Roger Wakefield in December 2015,[49] while Sophie Skelton was chosen to portray Brianna Randall, Claire and Jamie's daughter, in January 2016.[50]

In August 2016, Starz announced that David Berry had been cast as Lord John William Grey for season three.[51][52][53] In September, Wil Johnson was cast as Joe Abernathy, and John Bell as "Young Ian" Fraser Murray.[54] In October, César Domboy was cast as an adult Fergus, and Lauren Lyle as Laoghaire's daughter Marsali MacKimmie.[55] Hannah James and Tanya Reynolds were cast as sisters Geneva and Isobel Dunsany in November 2016.[56]

In October 2017, two season four roles were announced. Maria Doyle Kennedy was cast as Jamie's aunt, Jocasta, and Ed Speleers as Stephen Bonnet, an Irish pirate and smuggler.[57] The casting of Colin McFarlane as Jocasta's slave butler Ulysses was announced in January 2018.[58] The Cherokee and Mohawk people in seasons four and five were portrayed by members of First Nations from Canada who traveled to Scotland for the filming.[59]

In May 2020, Berry announced that he would not be returning to Outlander for the sixth season.[60] Nevertheless, he made a guest appearance in one episode in season six.[61]

In May 2022, it was announced that Canadian actor Charles Vandervaart had been cast to play William Ransom, Jamie's son who was raised by Lord John Grey since season three.[62]

Filming[edit]

In July 2013, British Chancellor of the Exchequer George Osborne confirmed that the production would benefit from the Creative Sector Tax Relief programme implemented in the UK in 2012, which extends film tax reliefs to high-end television productions.[63] The Scottish government also agreed to help pay for the conversion of a warehouse complex on the outskirts of Cumbernauld in North Lanarkshire into a film studio.[64] Principal photography began on location in Scotland in September 2013.[65] The Cumbernauld studios were used for on set filming, with location shoots taking place at Doune Castle, Stirling; mills in East Linton, East Lothian; Newtonmore in the Scottish Highlands; Rothiemurchus Forest, Aviemore; quarries near Bathgate, West Lothian and Aberfoyle, Stirling,[34] as well as Linlithgow Palace,[66] Loch Rannoch in the Highlands, and Falkland and Culross in Fife.[65] Such settings have attracted substantial numbers of international tourists.[66]

Filming for season two began in April 2015, to air in spring 2016.[67] The primary setting for the season is Paris, which Moore explained is being recreated using other locations. Some interiors were filmed on the show's Scotland soundstages, while Prague was used for the exterior street scenes and the Palace of Versailles. In addition some palaces in the south of England which have French rooms and architecture were used as Parisian interiors and part of Versailles.[17][68] Moore noted that season two of Outlander "will look completely different than season one" with a "richer, more dynamic kind of visual palette".[17] With the change of setting from Scotland to France, he said that "visually you’ve moved from the heavy woods and stone of season 1 into the finery of the Parisian apartments".[17] He explained:

Everything about Paris is so completely different, especially the costumes ... It's the most stylish city in the world during this time. A lot more money. A lot of finery. Scotland is featuring a lot of heavy wools and more organic colors. In Paris everyone wants to be a peacock. You’ve got a much wider palette of textiles and colors and styles than you did in Scotland. It's a completely different world. And that kind of goes across the board for all the departments ... There were really no sets or pieces of sets that we could use for Paris that we'd used for Scotland ... There are carriages, there are servants with livery, there are props and furniture. It's completely different. It's a whole new show.[17]

Production on season three began in September 2016 in Scotland, and filming took place in Cape Town from March to June 2017.[69] Filming completed on June 16, 2017.[70]

In August 2017, Moore said that for season four, locations in Scotland would double as 18th century America, and some of the mountains and rivers of North Carolina would be recreated using locations in Eastern Europe.[23] Production for season four was completed in Scotland by July 5, 2018.[71]

Production on season five, set primarily in North Carolina, began in Scotland in April 2019.[72] Locations included Kinloch Rannoch (for Craigh na Dun), the Thomas Coats Memorial Baptist Church in Paisley, The Hermitage, Dunkeld in Perthshire and Milne Woods in Bridge of Allan. Much of the filming was completed at Wardpark Studios in Glasgow.[73]

Production on season six was scheduled to begin in May 2020 but was delayed due to the COVID-19 pandemic. Production eventually began in February 2021.[74]

Production for season seven began in April 2022,[75] while filming began in May 2022 in Scotland.[76]

Music[edit]

The music is composed by Bear McCreary. The title song is an adaptation of Robert Louis Stevenson's poem Sing me a Song of a Lad that is Gone, set to the tune of the Scottish folk song "The Skye Boat Song".[77] For the first half of season two, the second verse of the opening theme is sung in French to reflect the season's French setting.[78] For the second half of season three, the second verse of the opening theme has Caribbean music to reflect the season's Jamaican setting.[79] The fourth season opening theme has a colonial American sound.[80]

Release[edit]

Outlander premiered in the United States on August 9, 2014.[81][82] Its first eight episodes aired through September, and the remaining eight episodes resumed in April 2015.[83][84] The first-season finale aired on May 30, 2015.[85]

Outlander debuted in Australia on SoHo on August 14, 2014,[86] and began airing in Canada on Showcase on August 24, 2014.[87] The series also premiered on October 21, 2014, in Ireland.[88] In the United Kingdom, it was acquired by Amazon Prime Video, where it premiered on March 26, 2015[89][90] In April 2015, The Herald reported that emails leaked in the Sony Pictures Entertainment hack suggested that the broadcast delay in the UK may have been due to sensitivity about the September 2014 Scottish independence referendum.[91]

The second season of 13 episodes premiered on April 9, 2016,[92] and the 13-episode third season on September 10, 2017.[93] The fourth season premiered on November 4, 2018,[94] and the fifth on February 16, 2020.[95] The sixth season premiered on March 6, 2022.[1]

In New Zealand, Outlander was previously distributed by the video streaming service Lightbox. Following Sky's acquisition of Lightbox, Sky's streaming service Neon acquired the distribution rights to Outlander in New Zealand.[96]

Reception[edit]

Critical response[edit]

On Rotten Tomatoes, the average rating of the overall series is 89%,[97] while on Metacritic it has an average rating of 76 out of 100.[98]

Season 1[edit]

Metacritic and Rotten Tomatoes scores per season

The first season received mostly positive reviews. On Metacritic, it has a rating of 73 out of 100, based on 34 reviews, indicating "generally favorable reviews".[99] On Rotten Tomatoes, the season has a 91% rating with an average rating of 7.95/10 based on 52 reviews. The website's critical consensus reads: "Outlander is a unique, satisfying adaptation of its source material, brought to life by lush scenery and potent chemistry between its leads".[100]

The Huffington Post called the first episode "... A masterpiece of impressive depth ... It is amazing!"[101] Entertainment Weekly gave the premiere an "A-" rating, writing that it was "sexy and smart and stirring".[82] Matt Zoller Seitz of New York magazine also praised the series, calling it "defiantly its own thing: part romance-novel fantasy, part-time-travel story, and part wartime drama (set across two time periods)".[102] Sonia Saraiya of The A.V. Club gave the first six episodes an A, writing that it "does for 1743 Scotland what Downton Abbey does for 1912 England", and adding that "Outlander succeeds admirably ... it refuses to sit comfortably in any genre."[103]

British reception was more mixed. In the first UK review, Siobhan Synnot of The Scotsman said "There has not been such a proud display of tartanalia[104] since the opening of the 2014 Commonwealth Games".[105] Alastair McKay of The Evening Standard quoted Saraiya's comparison with Downton Abbey, adding "[The comparison] is entirely correct. It is magical-mystical heuchter-teuchter cobblers."[106] Euan Ferguson of The Observer called it "gorgeous drivel"[107] and Thomas Batten of The Guardian stated "If you love the scenery, shifting allegiances, and palace intrigue of [Game of Thrones] but find yourself wishing the pace were a little slower and that the sex scenes were filmed in a more pretentious manner with lots of slow pans and softer lighting, here's your show."[108] Graeme Virtue noted "the rather languid pace of the opening episodes" but praised the show's "rare acknowledgment of the female gaze" in its treatment of sex scenes.[109] The Daily Telegraph also made the Game of Thrones comparison,[110] while The Independent stated "...yes, it's a time-travelling, wish-fulfilment fantasy but it's done with such flair and attention to detail that it's impossible not to hop on board for the ride."[111]

Season 2[edit]

The second season received universal acclaim. On Metacritic, it has a score of 85 out of 100 based on 11 reviews, indicating "universal acclaim".[112] On Rotten Tomatoes, it reports a 92% rating with an average rating of 8.05/10 based on 25 reviews. The website consensus reads: "Outlander returns for a second addictive season of mystery and sweeping romance as Claire and Jamie take on Paris."[113] Based on five episodes for review, Marah Eakin of The A.V. Club gave it a perfect "A" grade and wrote, "It's not just well-written and lovely to look at. It's downright immersive. ... Outlander feels important–even moreso in its second season."[114]

Season 3[edit]

The third season also received universal acclaim. It has a Metacritic score of 87 out of 100 based on 6 reviews, indicating "universal acclaim".[115] Rotten Tomatoes reports a 90% rating with an average rating of 7.95/10 based on 16 reviews. The website consensus reads: "Outlander's epic love story returns with the same strong storytelling and an added layer of maturity."[116] Based on six episodes for review, Liz Shannon Miller of IndieWire gave it an "A"-grade review and wrote, "This is a show that's grown and matured since its initial premiere in ways that defied our initial expectations."[117]

Season 4[edit]

The fourth season received mostly positive reviews. It has a Metacritic score of 71 out of 100 based on 6 reviews, indicating "generally favorable reviews".[118] Rotten Tomatoes reports an 88% rating with an average rating of 7.15/10 based on 10 reviews. The website consensus reads: "Outlander's epic romance settles into a violent fourth season, planting its flag on the American frontier while treading on darker themes."[119]

Season 5[edit]

The fifth season also received mostly positive reviews. It has a Metacritic score of 73 out of 100 based on 4 reviews, indicating "generally favorable reviews".[120] Rotten Tomatoes reports an 86% rating with an average rating of 7/10 based on 11 reviews. The website consensus reads: "Outlander's romantic ardor doesn't burn as bright in this fifth season, but the Frasers remain an enthralling pair as they try to forge a home together."[121]

Season 6[edit]

The sixth season has an 88% rating on Rotten Tomatoes with an average rating of 7.8/10 based on 8 reviews.[122]

Ratings[edit]

The first eight episodes averaged more than 5.1 million multiplatform viewers.[123] In July 2015, noting Outlander's strong ratings, its "vocal online fandom and a slew of think pieces tied to its feminist twists on the action genre", Josef Adalian of Vulture credited Outlander as one of the series responsible for Starz's increased success against competitors like Showtime.[8] On February 11, 2020, cable provider Comcast moved Starz from its base cable packages to an a la carte option. This occurred five days before the premiere of season five.[124]

Accolades[edit]

Year | Association | Category | Nominee(s) | Result | Ref.
2014 | Critics' Choice Television Awards | Most Exciting New Series | Outlander | Won | [143]
2015 | People's Choice Awards | Favorite Cable Sci-Fi/Fantasy Show | Won | [144]
Saturn Awards | Best Television Presentation | Outlander | Nominated | [145][146]
Best Actor on Television | Tobias Menzies | Nominated
Best Actress on Television | Caitríona Balfe | Won
Best Supporting Actor on Television | Sam Heughan | Nominated
Irish Film & Television Awards | Best Actress in a Lead Role Drama | Caitríona Balfe | Nominated | [147][148]
Rising Star Award | Nominated
Emmy Awards | Outstanding Music Composition for a Series (Original Dramatic Score) | Bear McCreary for "Sassenach" | Nominated | [149]
2016 | People's Choice Awards | Favorite Cable TV Sci-Fi/Fantasy Show | Outlander | Won | [150]
Favorite Sci-Fi/Fantasy TV Actor | Sam Heughan | Nominated
Favorite Sci-Fi/Fantasy TV Actress | Caitríona Balfe | Won
Golden Globe Awards | Best Television Series – Drama | Outlander | Nominated | [151]
Best Actress – Television Series Drama | Caitríona Balfe | Nominated
Best Supporting Actor – Series, Miniseries or Television Film | Tobias Menzies | Nominated
Costume Designers Guild Awards | Outstanding Period Television Series | Terry Dresbach | Nominated | [152]
Critics' Choice Awards | Most Bingeworthy Series | Outlander | Won | [153]
Women's Image Network Awards | Outstanding Drama Series | Outlander for "The Garrison Commander" | Won | [154]
Outstanding Actress in a Drama Series | Caitríona Balfe for "The Garrison Commander" | Won
Outstanding Show Written by a Woman | Anne Kenney for "The Wedding" | Nominated
Toni Graphia for "The Devil's Mark" | Won
Outstanding Show Directed by a Woman | Anna Foerster for "The Wedding" | Nominated
Saturn Awards | Best Fantasy Television Series | Outlander | Won | [155][156]
Best Actress on Television | Caitríona Balfe | Won
Best Actor on Television | Sam Heughan | Nominated
Irish Film & Television Awards | Best Actress in a Lead Role Drama | Caitríona Balfe | Nominated | [157]
Costume Society of America | Costume Design Award | Terry Dresbach | Won | [158]
Emmy Awards | Outstanding Costumes for a Period/Fantasy Series, Limited Series or Movie | Terry Dresbach, Elle Wilson, Nadine Powell and Anna Lau for "Not in Scotland Anymore" | Nominated | [149]
Outstanding Production Design for a Narrative Period Program (One Hour or More) | Jon Gary Steele, Nicki McCallum and Gina Cromwell for "Not in Scotland Anymore" and "Faith" | Nominated
BAFTA Scotland Awards | Television drama | Production Team – Tall Ship Productions, Story Mining & Supply Co., Left Bank Pictures, Sony Pictures Television/Amazon Prime Instant Video | Nominated | [159]
Best Actor in Television | Sam Heughan | Nominated
Best Actress in Television | Caitríona Balfe | Won
Critics' Choice Television Awards | Most Bingeworthy Series | Outlander | Won | [160]
Best Actor in a Drama Series | Sam Heughan | Nominated
Best Actress in a Drama Series | Caitríona Balfe | Nominated
Scottish Gaelic Awards | International Award | Àdhamh Ó Broin | Won | [161]
Hollywood Professional Association Awards | Outstanding Color Grading – Television | Steven Porter for "Faith" | Nominated | [162]
Outstanding Sound – Television | Nello Torri, Alan Decker, Brian Milliken, Vince Balunas for "Prestonpans" | Won
2017 | People's Choice Awards | Favorite TV Show | Outlander | Won | [163]
Favorite Premium Sci-Fi/Fantasy Series | Outlander | Won
Favorite Sci-Fi/Fantasy TV Actor | Sam Heughan | Won
Favorite Sci-Fi/Fantasy TV Actress | Caitríona Balfe | Won
Globes de Cristal Award | Best Foreign Television Series | Outlander | Nominated | [164]
Satellite Awards | Best Genre Series | Outlander | Won | [165]
Best Ensemble: Television | Outlander | Won
Outstanding Blu-ray | Outlander | Won
American Society of Cinematographers | Regular Series for Non-Commercial Television | Neville Kidd for "Prestonpans" | Nominated | [166]
Golden Globe Awards | Best Actress – Television Series Drama | Caitríona Balfe | Nominated | [167]
Oscar Wilde Awards | | Caitríona Balfe | Won | [168]
Women's Image Network Awards | Outstanding Drama Series | Outlander | Won | [169]
Outstanding Actress in a Drama Series | Caitríona Balfe | Nominated
Outstanding Show Written by a Woman | Diana Gabaldon for "Vengeance Is Mine" | Nominated
Saturn Awards | Best Fantasy Television Series | Outlander | Won | [170]
Best Actor on a Television Series | Sam Heughan | Nominated
Best Actress on a Television Series | Caitríona Balfe | Nominated
Best Guest Performance on a Television Series | Dominique Pinon | Nominated
Irish Film & Television Awards | Best Actress in a Lead Role in Drama | Caitríona Balfe | Nominated | [171]
Rockie Awards | Sci-Fi, Fantasy and Action | Outlander | Nominated | [172]
2018 | Golden Globe Awards | Best Actress – Television Series Drama | Caitríona Balfe | Nominated | [173]
16th Visual Effects Society Awards | Outstanding Supporting Visual Effects in a Photoreal Episode | Richard Briscoe, Elicia Bessette, Aladino Debert, Filip Orrby, Doug Hardy for "Eye of the Storm" | Nominated | [174]
Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project | Jason Mortimer, Navin Pinto, Greg Teegarden, Steve Ong for "Eye of the Storm" – Stormy Seas | Nominated
Saturn Awards | Best Fantasy Television Series | Outlander | Won | [175][176]
Best Actor on Television | Sam Heughan | Nominated
Best Actress on Television | Caitríona Balfe | Nominated
2019 | Golden Globe Awards | Best Actress – Television Series Drama | Caitríona Balfe | Nominated | [177]
Saturn Awards | Best Fantasy Television Series | Outlander | Nominated | [178]
Best Actor on a Television Series | Sam Heughan | Won
Best Actress in a Television Series | Caitríona Balfe | Nominated
Best Supporting Actress on Television | Sophie Skelton | Nominated
Best Guest-Starring Performance on a Television Series | Ed Speleers | Nominated
2021 | Satellite Awards | Best Actress in a Drama / Genre Series | Caitríona Balfe | Nominated | [179]
Saturn Awards | Best Fantasy Television Series | Outlander | Nominated | [180]
Best Actor on a Television Series | Sam Heughan | Nominated
Best Actress on a Television Series | Caitríona Balfe | Won
Best Supporting Actor on a Television Series | Richard Rankin | Nominated
Best Supporting Actress on a Television Series | Sophie Skelton | Nominated

Prequel series[edit]

On February 25, 2022, it was reported that a prequel series is in works, with Matthew B. Roberts writing and executive producing.[2] In May 2022, executive producer Maril Davis confirmed that the prequel series will focus on the parents of Jamie Fraser.[181]

Notes[edit]

^ Menzies only appears in one episode of season four, although credited as a main cast member.

^ O'Rourke only appears in one episode of season three, although credited as a main cast member.

^ Verbeek only appears in one episode of season two, although credited as a main cast member.

^ Paterson only appears in one episode of season three, although credited as a main cast member.

^ Callow only appears in one episode of season one, although credited as a main cast member.

^ Donnelly only appears in one episode of season two, although credited as a main cast member.

^ Cree only appears in one episode of season two and one episode of season four, although credited as a main cast member.

^ Gower only appears in one episode of season three, although credited as a main cast member.

^ Hudson only appears in one episode of season two, one episode of season three and one episode of season four, although credited as a main cast member.

^ Russell only appears in one episode of season two, although credited as a main cast member.

^ Rankin only appears in one episode of season two, although credited as a main cast member.

^ Skelton only appears in one episode of season two, although credited as a main cast member.

^ Berry only appears in one episode of season six, although credited as a main cast member.

^ Doyle Kennedy only appears in one episode of season six, although credited as a main cast member.

^ Clarke only appears in one episode of season six, although credited as a main cast member.

^ Boyd only appears in one episode of season four, although credited as a main cast member.

^ Jackson only appears in one episode of season six, although credited as a main cast member.

^ Tual only appears in one episode of season four, although credited as a main cast member.

^ McArthur only appears in one episode of season four, although credited as a main cast member.

^ Maurice only appears in one episode of season six, although credited as a main cast member.

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External links[edit]

Media related to Outlander at Wikimedia Commons

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Outlander is a historical drama television series based on the ongoing novel series of the same name by Diana Gabaldon. Developed by Ronald D. Moore, the show premiered on August 9, 2014, on Starz. It stars Caitríona Balfe as Claire Randall, a married former Second World War military nurse in Scotla…

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What is an Organization- Introduction?Nature of organization.

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SPINNER INSTRUCTIONS:   spin the wheel and ask your partner the corresponding COMPLETE  question. He/ She must answer with a COMPLETE sentence too. You must memorise their 4 answers and repeat them in less than 10 seconds to win at the end. Next, exchange roles.  At home, create your own spinner with 4 new categories and post it on you padlet column. Write down the complete corresponding questions and answers in your notebook. 

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SPINNER INSTRUCTIONS:   spin the wheel and ask your partner the corresponding COMPLETE  question. He/ She must answer with a COMPLETE sentence too. You must memorise their 4 answers and repeat them in less than 10 seconds to win at the end. Next, exchange roles.  At home, create your own spinner with 4 new categories and post it on you padlet column. Write down the complete corresponding questions and answers in your notebook. 

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Use our free, customizable online Spinner, which allows you to quickly create a custom spinner for games or whatever else you need it for!

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Use our free, customizable online Spinner, which allows you to quickly create a custom spinner for games or whatever else you need it for!

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Forfait de mise à disposition réservé aux enseignants de la même matière et de la même classe que l'ouvrage. Le forfait s'applique ou non en fonction des informations renseignées dans votre compte.

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Anglais ETLV 1re/Terminale STMG - cahier de l'élève - Éd. 2022 | Hachette Éducation - Enseignants

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Lycée / Pour la première fois, un support dédié à l'enseignement de l'ETLV qui couvre les deux années de 1re et Tle STMG et qui facilite l'articulation entre l'anglais et les thématiques du tertiaire. Un format consommable pour permettre à l'élève de mieux s'approprier le contenu.Les axes de langues vivantes sont croisés avec les programmes de tertiaire.

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Riot grrrl is an underground feminist punk movement that began during the early 1990s within the United States in Olympia, Washington and the greater Pacific Northwest and has expanded to at least 26 other countries. Riot grrrl is a subcultural movement that combines feminism, punk music, and politics. It is often associated with third-wave feminism, which is sometimes seen as having grown out of the riot grrrl movement and has recently been seen in fourth-wave feminist punk music that rose in the 2010s. The genre has also been described as coming out of indie rock, with the punk scene serving as an inspiration for a movement in which women could express anger, rage, and frustration, emotions considered socially acceptable for male songwriters but less common for women.

In addition to a unique music scene and genre, riot grrrl became a subculture involving a DIY ethic, zines, art, political action, and activism. The movement quickly spread well beyond its musical roots to influence the vibrant zine- and Internet-based nature of fourth-wave feminism, complete with local meetings and grassroots organizing to end intersectional forms of prejudice and oppression, especially physical and emotional violence against all genders. Riot grrrls are known to hold meetings, start chapters, and support and organize women in music as well as art created by transgender people, gay individuals, lesbians, and other communities.

The riot grrrl movement originated in 1991, when a group of women from Olympia, Washington and Washington, D.C. held a meeting about sexism in their local punk scenes in the United States. The word "girl" was intentionally used in order to focus on childhood, a time when children have the strongest self-esteem and belief in themselves. Riot grrrls then took a growling "R", replacing the "I" in the word as a way to take back the derogatory use of the term. Both double and triple "R" spellings are acceptable.

The Seattle and Olympia, Washington music scenes in the Pacific Northwest had sophisticated do it yourself (DIY) infrastructure. Women involved in local underground music scenes took advantage of this platform to articulate their feminist beliefs and desires by creating zines (short for "magazine"). While the model of politically-themed zines had already been used in punk culture as an alternative (to mainstream) culture, zines also followed a longer legacy of self-published feminist writing that allowed women to circulate ideas that would not otherwise be published. At the time there was discomfort among many women in the music scene who felt that they had no space for organizing due to the exclusionary, male-dominated nature of punk culture at the time. Many women found that while they identified with the larger, music-oriented subculture of punk rock, they often had little to no voice in their local scenes. Women in the Washington punk scenes took it upon themselves to represent their own interests artistically through the new riot grrrl subculture. To quote Liz Naylor, who would become the manager of English riot grrrl band Huggy Bear:

There was a lot of anger and self-mutilation. In a symbolic sense, women were cutting and destroying the established image of femininity, aggressively tearing it down.

Riot grrrl bands were influenced by groundbreaking female punk and mainstream rock performers of the 1970s to the mid-1980s. While many of these musicians were not originally associated with each other during their time and came from a variety of backgrounds and styles, as a group they anticipated many of riot grrrl's musical and thematic attributes. These performers include The Slits, Poly Styrene, Siouxsie Sioux, The Raincoats, Joan Jett, Kim Gordon, and Kim Deal, among others. Of Kim Gordon, in particular, Kathleen Hanna noted, "She was a forerunner, musically [...] Just knowing a woman was in a band trading lead vocals, playing bass, and being a visual artist at the same time made me feel less alone." Riot grrrl musicians and musicians-to-be were also inspired by the 1982 U.S. musical drama movie Ladies and Gentlemen, The Fabulous Stains, which tells the story of a (fictional) seemingly proto-riot grrrl band.

Pacific Northwest and Washington, D.C.

Olympia, Washington had a strong feminist artistic and cultural legacy that influenced early riot grrrl. In the early 1980s, Stella Marrs, Dana Squires and Julie Fay co-founded the store Girl City, where they created art and performances. The first K Records release in 1982 was a cassette of Heather Lewis' first band Supreme Cool Beings, while she was a student at The Evergreen State College, a year before she co-founded Beat Happening. In 1985, The Go Team formed with then 15-year-old Tobi Vail. The band would go on to collaborate with Olympia scene musicians who are inherently linked to the riot grrrl movement: Donna Dresch, Lois Maffeo, and Billy "Boredom" Karren. Karren was a rotating musician who played in the band, and it was there that he and Vail played together for the first time, later collaborating in several other bands which included Bikini Kill and The Frumpies. Maffeo hosted a women-centered radio show on Olympia's community radio station KAOS. Candice Pedersen interned at K Records in 1986 while at The Evergreen State College, and became co-owner in 1989.

In the 1980s, two articles on the topic of women in rock would be published by Puncture, a Portland, Oregon, zine edited by Katherine Spielmann and Patty Stirling. Authored by Rough Trade employee Terri Sutton, these articles became what is considered by some to be titular writing on riot grrrl ethos. One article, "Women, Sex, & Rock 'n' Roll" (1989) is considered particularly important as the manifesto of the riot grrrl movement. Sutton would also say, in "Women In Rock: An Open Letter", written in 1988, "To me rock and roll is about lust, lust for feeling; the worst I can say about a band is they're boring. That's why it's so crucial that women get up onstage and impart--inspire some emotion."

Meanwhile in the Washington, D.C. area, Beat Happening fan Erin Smith started her zine Teenage Gang Debs in 1987. In 1988, two D.C. women that had been in all-women punk bands there previously - Chalk Circle's Sharon Cheslow and Fire Party's Amy Pickering - joined forces with Cynthia Connolly and Lydia Ely to organize group discussions focusing on gender differences and sexism in the D.C. punk community. The results were published in the June 1988 issue of Maximum Rock 'n' Roll. In November 1988, Connolly published the book Banned in DC: Photos and Anecdotes From the DC Punk Underground (79-85) through her small press Sun Dog Propaganda, and it was co-edited with Cheslow and Ely along with Leslie Clague. These conversations and the book laid the groundwork for riot grrrl when members of Bikini Kill and Bratmobile later came to D.C. in 1991. In fall 1989, Erin Smith visited Olympia and met Maffeo through Beat Happening's Calvin Johnson. Johnson had been in The Go Team with Vail, and co-owned K Records with Candice Pedersen. At the end of 1989, Cheslow began publishing her zine Interrobang?! focusing on punk and sexism, and the first issue included an interview with Nation of Ulysses (NOU). Vail saw a copy of this issue and was instantly captivated by NOU's aesthetic.

Vail began publishing her zine Jigsaw in 1988, around the same time that Dresch started her zine Chainsaw. Zines became a means of urgent expression; Laura Sister Nobody wrote in her zine Sister Nobody, "Us, we are women who know that something is happening - something that seems like a secret right now, but won't stay like a secret for much longer." At the time, Vail was working at a sandwich shop with Kathi Wilcox who was impressed by Vail's interest in "girls in bands, specifically," including an aggressive emphasis on feminist issues. Meanwhile, in 1989 Kathleen Hanna had co-founded the Olympia art collective/band Amy Carter and feminist gallery/music venue Reko Muse, both with Tammy Rae Carland and Heidi Arbogast. By summer 1989, the space had hosted The Go Team, Babes in Toyland, and Nirvana. Hanna also interned at SafePlace, an Olympia domestic violence shelter and provider of sexual assault/abuse services, for which she did counseling, gave presentations at local high schools, and started a discussion group for teenage girls. Hanna came upon a copy of Jigsaw in 1989 and found resonance with Vail's writing. Hanna began to contribute to the zine, submitting interviews to Jigsaw while on tour with Viva Knieval in 1990. In Jigsaw, Vail wrote about "angry grrls", combining the word girls with a powerful growl. Some issues of Jigsaw have been archived at Harvard University as a research resource along with other counterculture zines. After touring for two months in summer 1990, Hanna's band Viva Knievel called it quits. Hanna then began collaborating with Vail after attending a performance of The Go Team and recognizing Vail as the mastermind behind Jigsaw zine. Dresch later started a record label under the name Chainsaw and formed the queercore band Team Dresch. In Chainsaw #2 she wrote, "Right now, maybe, Chainsaw is about Frustration. Frustration in music. Frustration in living, in being a girl, in being a homo, in being a misfit of any sort...Which is where this whole punk rock thing came from in the first place."

Molly Neuman (from D.C.) and Allison Wolfe (from Olympia) met in fall 1989 while living next door to each other in dorms at the University of Oregon in Eugene, Oregon, and they traveled to Olympia on weekends. They first read Vail's zine Jigsaw in January 1990, and around the same time met Hanna. While on winter break 1990-91, Neuman returned to Washington, D.C., where her family lived and created the first issue of the zine . Corin Tucker came up with the band name Heavens to Betsy in Eugene during the summer 1990, and moved to Olympia that fall to attend The Evergreen State College. Kathleen Hanna and her friends Tobi Vail and Kathi Wilcox, who were also studying at Evergreen, recruited Billy Karren to form Bikini Kill in fall 1990. Neuman and Wolfe played their first show on Valentine's Day 1991 at the Surf Club in Olympia, after Johnson invited them to perform on a bill with Bikini Kill and Some Velvet Sidewalk. While working on a documentary film about the Olympia music scene, Tucker went to this show and interviewed Neuman and Wolfe. Hanna, Vail and Wilcox collaborated on a feminist zine titled Bikini Kill for their first tours in 1991.

Jenny Toomey and Hanna had known each other as young teens while attending the same D.C. area junior high school. Toomey co-founded the indie rock label Simple Machines with Kristin Thomson in early 1990, and they ran the label out of a punk group house in Arlington, Virginia. They shared the house with Positive Force activists before moving into their own group house in Arlington. Toomey visited Olympia during fall 1990, where she formed My New Boyfriend with Tobi Vail, Aaron Stauffer from Seaweed, and Christina Calle. Upon returning to Arlington, Toomey and Thomson formed the indie rock band Tsunami (band).

The third issue of Vail's zine Jigsaw, published in 1991 after she spent time in Washington, D.C., was subtitled "angry grrrl zine". In spring 1991 Cheslow was living in San Francisco, and she received letters from Ian MacKaye and Nation of Ulysses' Tim Green informing her about Bikini Kill and "angry grrrl" zines. That spring 1991, Neuman and Wolfe spent spring break in D.C. and formed Bratmobile there with Erin Smith, Christina Billotte (of Autoclave), and Jen Smith. Bikini Kill toured with Nation of Ulysses in May/June 1991, converging in D.C. with Bratmobile that summer. It was here that Neuman and Wolfe created the first issue of riot grrrl zine.

While Bikini Kill and Bratmobile band members were in D.C. during summer 1991, a meeting was held with women from the D.C. area to discuss how to address sexism in the punk scene. These women were inspired by recent anti-racist riots in D.C., and they wanted to start a "girl riot" against a society they felt offered no validation of women's experiences. The first riot grrrl meeting was organized by Kathleen Hanna and Jenny Toomey, and it was held at the Positive Force group house in Arlington, Virginia. Hanna later said, "We had to go to a Positive Force meeting first. I'd never had a pitch meeting before. But I was doing a pitch meeting for why they should let us use their house for this all-women's radical feminist community organizing meeting."

In August 1991 many of these individuals gathered at the International Pop Underground Convention in Olympia. The first night of the event became known as "Girl Night". Tucker played her first show that night, on guitar and vocals with Heavens to Betsy and Tracy Sawyer on drums. Writing later about that summer, Melissa Klein (Wolfe's housemate at the time) said, "Young women's anger and questioning fomented and smoldered until it became an all-out gathering of momentum toward action...Bikini Kill promoted 'Revolution Girl Style Now' and 'Stop the J-Word Jealousy From Killing Girl Love'." As this ideal spread via band tours, zines, and word of mouth, riot grrrl chapters sprang up around the country.

Kathleen Hanna, Tobi Vail, and Kathi Wilcox were all studying at The Evergreen State College in Olympia, Washington during the late 1980s. Hanna worked at Reko Muse, a small collective art gallery that would frequently host local bands to play shows between art exhibitions. There she met Vail after booking her band, the Go Team. At the same time, Vail was writing Jigsaw zine and working with friend Wilcox. Vail wrote at the time in Jigsaw:

With Billy Karren, Bikini Kill self-released a cassette of demos during summer 1991 titled Revolution Girl Style Now. Hanna, Vail and Wilcox also began collaboration on Bikini Kill zine during their first tours in 1991. The band wrote songs collaboratively and encouraged a female-centric environment at their shows, urging women to come to the front of the stage and handing out lyric sheets. Bikini Kill made it their goal to inspire more women to join the male-dominated punk scene. Hanna would also stage dive into the crowds to personally remove male hecklers who would often verbally and physically assault her during shows. However, the band's reach did include a large male audience in addition to the female target audience.

Kathleen Hanna in 1996

After releasing the Bikini Kill EP on the indie label Kill Rock Stars in 1992, Bikini Kill began to establish their audience. Members of Bikini Kill also began to collaborate with other high-profile musicians, including Joan Jett, whose music Hanna has described as an early example of the riot grrrl aesthetic. Jett produced the single "New Radio"/"Rebel Girl" for the band after members of Bikini Kill heard "Activity Grrrl", a song Jett wrote about the band. Bikini Kill's debut album Pussy Whipped, released in 1993, included the song "Rebel Girl". "Rebel Girl" has become one of Bikini Kill's signature songs as well as a widely-recognized anthem for the riot grrrl movement While "the unforgettable anthem", as Robert Christgau calls it, never charted due to its independent release, it has received widespread critical acclaim. It has been called a "classic", and praised as part "of the most vital rock-n-roll of the era". Bikini Kill's second album Reject All American was released in 1996, and the band broke up the next year.

Despite retrospective acclaim, at the time the band was criticized for excluding men, and even Rolling Stone described Bikini Kill's first album as "yowling and moronic nag-unto-vomit tantrums." "My joke is always like, I didn't just hit the glass ceiling, I pressed my naked [breasts] up against it," Hanna said of that time. Bikini Kill eventually called for a " media blackout" due to their perceived misrepresentation of the movement by the media. Their pioneer reputation endures but, as Hanna recalls:

Bratmobile in 1994.

Hailing from Eugene, Oregon, Bratmobile was a first-generation riot grrrl band that became the second-most prominent founding voice of the riot grrrl movement. In 1990, University of Oregon students Allison Wolfe and Molly Neuman collaborated on feminist zine with Washington, D.C.'s Jen Smith, touching on sexism in their local music scenes.

We were very encouraged by people like Tobi and Kathleen in Olympia, and we were like, "Oh let's do a band, let's do radio-we wanna [sic] have an all-girl radio show!"

During spring 1991, Erin Smith, Christina Billotte (of Autoclave), and Jen Smith (no relation to Erin) joined Wolfe and Neuman in Bratmobile when the latter two temporarily relocated to Washington, D.C. Neuman and Erin Smith were previously introduced at a Nation of Ulysses show in Washington, D.C., in December 1990 by mutual friend Calvin Johnson. Jen Smith had written in a letter to Wolfe, "We need to start a girl RIOT!" Jen Smith proposed they collaborate with members of Bikini Kill on a zine called Girl Riot. When Neuman began the zine, she changed its title to riot grrrl, providing a networking forum for young women in the wider music scene and giving the movement its name.

Erin Smith, Jen Smith, Billotte, Wolfe, and Neuman released only one tape together, titled Bratmobile DC. Thereafter, Bratmobile became a trio with Wolfe, Neuman, and Erin Smith. They played their first show together as Bratmobile in July 1991, with Neuman on drums, Erin Smith on guitar, and Wolfe on vocals.

Between 1991 and 1994 Bratmobile released the album Pottymouth and EP The Real Janelle on Kill Rock Stars, as well as The Peel Session. Bratmobile toured with Heavens to Betsy in 1992 and broke up in 1994.

From August 20 - 25, 1991, K Records held an indie music festival in Olympia called the International Pop Underground Convention (or IPU). A promotional poster reads:

As the corporate ogre expands its creeping influence on the minds of industrialized youth, the time has come for the International Rockers of the World to convene in celebration of our grand independence. Hangman hipsters, new mod rockers, sidestreet walkers, scooter-mounted dream girls, punks, teds, the instigators of the Love Rock Explosion, the editors of every angry grrrl zine, the plotters of youth rebellion in every form, the midwestern librarians and Scottish ski instructors who live by night, all are setting aside August 20-25, 1991 as the time.

A mostly all-female bill on the first night, called "Love Rock Revolution Girl Style Now!" and later simply "Girl Night", signaled a major step in the movement. The night was organized by Lois Maffeo, KAOS DJ Michelle Noel (who later organized the first Yoyo A Go Go in 1994), and Margaret Doherty. The lineup featured Maffeo, Tobi Vail solo, Christina Billotte solo, Bratmobile, Heavens to Betsy, Nikki McClure, Jean Smith of Mecca Normal, 7 Year Bitch, Kicking Giant, Rose Melberg, Kreviss, I Scream Truck, the Spinanes, and two side projects of Kathleen Hanna: Suture, with Sharon Cheslow of Chalk Circle (DC's first all-women punk band) and Dug E. Bird of Beefeater, and the Wondertwins with Tim Green of Nation of Ulysses. It was here that so many zinester people who'd only known each other from networking, mail, or talking on the phone, finally met and were brought together by an entire night of music dedicated to, for, and by women.

Exposure to Bikini Kill and then Bratmobile inspired other riot grrrl factions to spring up around the United States and Canada. Women in other regional punk music scenes across North America were encouraged to form their own bands and start their own zines. While Bikini Kill, amongst other bands, frequently avoided attention from mainstream media outlets due to the fear that riot grrrl would be co-opted by corporate enterprises, in the few interviews they did take, they often made the movement out to be bigger than it was, claiming the music scene existed in cities far beyond its actual scope. This encouraged feminists to seek out said scenes, and when they couldn't find them, they created them on their own, further broadening riot grrrl's scope.

From July 31 to August 2, 1992, the first Riot Grrrl Convention brought people together in Washington, D.C. for a weekend of performances and workshops on topics such as rape, sexuality, racism, domestic violence, and self-defense. A promotional flier reads:

By 1994, riot grrrl had been discovered by the mainstream, and Bikini Kill were increasingly referred to as pioneers of the movement. These bands credited with establishing the subculture of riot grrrl resisted being co-opted as heads of the movement broadly. Dedicated to a DIY ethos, bands and artists encouraged grrrls to challenge hierarchies and self-produce work relating to their own experiences and identities.

As Bikini Kill's music and zines spread throughout England in 1991-92, bands formed and were quick to embrace riot grrrl. England had previously spawned such influential all-female or female-fronted punk bands as X-Ray Spex, The Slits, and The Raincoats that provided inspiration.

Huggy Bear formed in 1991, calling themselves "girl-boy revolutionaries" in reference to both their political philosophy and the gender makeup of their band, and were based in Brighton and London. Their debut EP was released in 1992, and in the same year they began working closely with Bikini Kill as riot grrrl's popularity peaked on both sides of the Atlantic. This culminated in a 1993 split album on Catcall Records (Huggy Bear) and Kill Rock Stars (Bikini Kill) called Our Troubled Youth/Yeah Yeah Yeah Yeah, the names of the Huggy Bear and Bikini Kill sides respectively. Huggy Bear received widespread national attention after performing their third single "Her Jazz", a split release between Catcall and Wiiija Records, on in 1993. Kill Rock Stars had been co-founded in Olympia by Slim Moon and Tinuviel Sampson, while Catcall was founded by former Manchester punk zine writer Liz Naylor. Naylor had met Bikini Kill's Kathy Wilcox by chance while they were each traveling in Europe in 1991, and Wilcox sent Naylor music and the first issues of Riot Grrrl and Jigsaw zines during their subsequent correspondence.

Skinned Teen formed in London in 1992, when they were around 14 years old. They were included in British filmmaker Lucy Thane's documentary of the 1993 Bikini Kill/Huggy Bear UK tour titled It Changed My Life: Bikini Kill In The U.K.; the film also included The Raincoats and queercore band Sister George. Thane, from Sheffield, had previously met the Raincoats' Ana da Silva at a Hole show after Hole covered a Raincoats song. Thane filmed Bikini Kill and Huggy Bear for the entirety of their 1993 tour using borrowed film and video equipment. Naylor was tour manager. It Changed My Life premiered in 1993 at The Kitchen in New York City, during a film program curated by filmmaker Jill Reiter.

UK zines that wrote about riot grrrl at the time included Girlfrenzy and .

By the mid-nineties, riot grrrl had severely splintered. Many within the movement felt that the mainstream media had completely misrepresented their message, and that the politically radical aspects of riot grrrl had been subverted by the likes of the Spice Girls and their " girl power" message, or co-opted by ostensibly women-centered bands (though sometimes with only one female performer per band) and festivals like Lilith Fair. Later waves of riot grrrl chapters opened in Latin America, North America, Asia, Europe, and Australia through to the 2010s.

Bikini Kill performing in 2019

Of the original riot grrrl bands, Bratmobile, Heavens to Betsy and Huggy Bear had split in 1994, Excuse 17 and most of the UK bands had split by 1995, and Bikini Kill and Emily's Sassy Lime (formed in Southern California in 1993) released their last records in 1996. However, Team Dresch were active as late as 1998, the Gossip were active from 1999, and Bratmobile reformed in 2000. Perhaps most prolific of all, Sleater-Kinney were active from 1994 to 2006, releasing seven albums. Corin Tucker (Heavens to Betsy) and Carrie Brownstein (Excuse 17) had formed Sleater-Kinney in Olympia.

Riot grrrl culture is often associated with third wave feminism, which also grew rapidly during the same early nineties timeframe. The movement of third-wave feminism focused less on laws and the political process and more on individual identity. The movement of third-wave feminism is said to have arisen out of the realization that women are of many colors, ethnicities, nationalities, religions and cultural backgrounds. While multiracial feminist movements have existed prior to the third wave, the proliferation of technology during the early nineties allowed for easier networking amongst feminist groups. Riot grrrls used media spectacle to their advantage, crafting works from oppositional technologies such as zines, videography, and music. The riot grrrl movement allowed women their own space to create music and make political statements about the issues they were facing in the punk rock community and in society. They used their music and publications to express their views on issues such as patriarchy, double standards against women, rape, domestic abuse, sexuality, and female empowerment.

An undated, typewritten Bikini Kill tour flier answers the question "What is Riot grrrl?" with:

The riot grrrl movement encouraged women to develop their own place in a male-dominated punk scene. Punk shows had come to be understood as places where "women could make their way to the front of the crowd into the mosh pit, but had to 'fight ten times harder' because they were female, and sexually charged violence such as groping and rape had been reported."

In contrast, riot grrrl bands would often actively invite members of the audience to talk about their personal experiences with sensitive issues such as sexual abuse, pass out lyric sheets to everyone in the audience, and often demand that the mosh boys move to the back or side to allow space in front for the girls in the audience. The bands weren't always enthusiastically received at shows by male audience members. Punk Planet editor Daniel Sinker wrote in We Owe You Nothing:

The vehemence fanzines large and small reserved for riot grrrl - and Bikini Kill in particular - was shocking. The punk zine editors' use of ' bitches', ' cunts', ' man-haters', and ' dykes' was proof-positive that sexism was still strong in the punk scene.

Kathi Wilcox said in a fanzine interview:

I've been in a state of surprise for several years about this very thing. I don't know why so-called punk rockers are so threatened by a little shake-up of the truly boring dynamic of the standard show atmosphere. How fresh is the idea of fifty sweaty hardcore boys slamming into each other or jumping on each others' heads? Granted, it's kind of cool to be on stage and have action in the front, much more inspiring than to look out at a crowd of zombies, but so often the survival-of-the-fittest principle is in operation in the pit, and what girl wants to go up against a pack of Rollins boys who usually only want to be extra mean to her anyway just to make her "prove" her place in the pit. This was the case when I was first going to shows, and it's sad that things haven't changed at all since. ... But it would have been so cool if at one of these shows someone onstage would have said, hey let's have more girls up in the front, just so I could have had more company and girls over to side could have seen better/been in the action. So yeah, we do encourage girls to the front, and sometimes when shows have gotten really violent (like when we were in England) we had to ask the boys to move to the side or the back because it was just too fucking scary for us, after several attacks and threats, to face another sea of hostile boy-faces right in the front.

Kathleen Hanna later wrote: "It was also super schizo to play shows where guys threw stuff at us, called us cunts and yelled "take it off" during our set, and then the next night perform for throngs of amazing girls singing along to every lyric and cheering after every song."

Many men were supporters of riot grrrl culture and acts. Calvin Johnson and Slim Moon have been instrumental in publishing riot grrrl bands on the labels they founded, K Records and Kill Rock Stars respectively. Alec Empire of Atari Teenage Riot said, "I was totally into the riot grrrl music, I see it as a very important form of expression. I learned a lot from that, way more maybe than from 'male' punk rock." Dave Grohl and Kurt Cobain dated Kathleen Hanna and Tobi Vail (also respectively), and often played with Bikini Kill even after splitting with them; Kurt was a big fan of the Slits and even convinced the Raincoats to reform. He once said, "The future of rock belongs to women." Many riot grrrl bands included male band members, such as Billy Karren of Bikini Kill or Jon Slade and Chris Rawley of Huggy Bear.

Influenced heavily by DIY culture, most bands' presentation subverted traditional or classically trained 'musicianship' in favor of raw, primitive, avant- lo-fi passion and fiercely deliberate amateurism: an idea growing rapidly in popularity, especially in the Olympia music scene, with bands like Beat Happening coining the slogans: "Learn how to NOT play your instrument" and "hey, you don't have to sound like the flavor of the month, all you have to do is sound like yourselves", arguing that traditional musical skill doesn't ultimately matter and should always be subservient to the passion, the fun and ideas in their music. This argument is similar to the ideological origins of punk rock itself, which started partially as an attempt to dissolve the growing division between audience and performer. These indie-punk bands (and riot grrrl bands in particular) were often ridiculed for "not being able to play their instruments", but fans are quick to counter that identical criticisms were often faced by the first-wave of punk rock bands in the 1970s, and that this DIY garage amateurism "play just 'cause you wanna, no matter what" attitude was one of the most appealing and liberating aspects of both movements.

The New-York Historical Society's documentation on "Women & the American Story" said that "the riot grrrl movement struggled to recognize intersectionality" and therefore many women of color left when they felt their voices weren't being heard. In 1997, punk musician Tamar-kali Brown created Sista Grrrl by and for Black women and girls, in response to the marginalization of women of color in riot grrrl. Sista Grrrls was the name for Tamar-kali's New York punk group with three other Black women: Simi Stone, Honeychild Coleman, and Maya Sokora. These four organized a series of punk shows, known as Sista Grrrl Riots, with Black women and girls who were in bands or performed solo. The Slits' Ari Up opened one of the riots as a Sista Grrrl ally, and Honeychild Coleman later toured as guitarist with the reformed Slits in 2010.

Scholars have argued that riot grrrl remains relevant on a global scale because it engages with "everyday politics" or the ways that people in their day-to-day activities participate in or experience power dynamics. It allows grrrls to connect their interests and contemporary lives to urgent political issues in personal and subversive ways. One way riot grrrl achieved this was through language that centered young women and girls as political subjects with agency and power, in a way that broke away from historical models of feminism and radical speech. This "history-in-the-making" approach aligned well with riot grrrl's devotion to DIY.

Even as the Seattle-area rock scene came to international mainstream media attention, riot grrrl remained a willfully underground phenomenon. Most musicians shunned the major record labels, devotedly working instead with indie labels such as Kill Rock Stars, K Records, Slampt, Piao! Records, Simple Machines, Catcall, WIIIJA and Chainsaw Records. The movement also figured fairly prominently in cassette culture, with artists often starting their own DIY cassette labels by as basic and spartan means as recording their music onto cheap off-the-shelf boom-boxes and passing the cassettes out to friends, seldom charging anything beyond the cost of the actual tapes themselves.

Riot grrrl's momentum was also hugely supported by an explosion of creativity in homemade cut and paste, xeroxed, collage zines that covered a variety of feminist topics, frequently attempting to draw out the political implications of intensely personal experiences in a "privately public" space. Zines often described experiences with sexism, mental illness, body image and eating disorders, sexual abuse, racism, rape, discrimination, stalking, domestic violence, incest, homophobia, and sometimes vegetarianism. Grrrl zine editors are collectively engaged in forms of writing and writing instruction that challenge both dominant notions of the author as an individualized, bodiless space and notions of feminism as primarily an adult political project.

These zines were archived by zinewiki.com, and Riot Grrrl Press, started in Washington DC in 1992 by Erika Reinstein & May Summer. Others can be found anthologized in A Girl's Guide to Taking over the World: Writings from the Girl Zine Revolution, for which actress/singer/musician/writer/performance artist Ann Magnuson of Bongwater fame wrote as a foreword:

When I think of how much benefit my teenage self could have gained from the multitude of zines that have proliferated over the past decade, I weep for all the lost potential. Except for Joan of Arc and Anne Frank, the thoughts of teenage girls have rarely been taken seriously.[citation needed ]

Bands often attempted to reappropriate derogatory phrases like "cunt", "bitch", "dyke", and "slut", writing them proudly on their skin with lipstick or fat markers. Kathleen Hanna was writing "slut" on her stomach at shows as early as 1992, intentionally fusing feminist art and activist practices. Many of the women involved with queercore were also interested in riot grrrl, and zines such as Chainsaw by Donna Dresch, Sister Nobody, Jane Gets A Divorce and I (heart) Amy Carter by Tammy Rae Carland embody both movements. There were also national conventions like in Washington, D.C., or the Pussystock festival in New York City, as well as various subsequent indie-documentaries like Don't Need You: the Herstory of Riot Grrrl.

Other riot grrrl zines such as Ramdasha Bikceem's GUNK, started in 1990 when she was 15, focused on the intersections of punk, gender, and racism. Bikceem, from New Jersey, had found out about riot grrrl zines after a friend became Tobi Vail's roommate in Olympia. Bikceem's band Gunk performed at the first Riot Grrrl Convention in D.C. in 1992. In GUNK #4 Bikceem wrote about the politics of being a Black grrrl, "I'll go out somewhere with my friends who all look equally as weird as me, but say we get hassled by the cops for skating or something. That cop is going to remember my face a lot clearer than say one of my white girlfriends." Mimi Thi Nguyen's Slant and Sabrina Margarita Alcantara-Tan's Bamboo Girl critiqued riot grrrl from the perspective of Asian American girls. In 1997, Nguyen published the compilation zine Evolution of a Race Riot.

In the mid-1990s, zines were also published on the Internet as e-zines. Websites such as Gurl.com and ChickClick were created out of dissatisfaction of media available to women and parodied content found in mainstream teen and women's magazines. Both Gurl.com and ChickClick had a message board and free web hosting services, where users could also create and contribute their own content, which in turn created a reciprocal relationship where women could also be seen as creators rather than consumers.

Starting during the fall of 2010, the "Riot Grrrl Collection" has been housed at New York University's Fales Library and Special Collections, as "The Fales Riot Grrrl Collection". The collection's primary mandate is "to collect unique materials that provide documentation of the creative process of individuals and the chronology of the [Riot Grrrl] movement overall". Kathleen Hanna, Molly Neuman, Allison Wolfe, Ramdasha Bikceem, Johanna Fateman, Becca Albee (co-founder of Excuse 17), Lucy Thane, Tammy Rae Carland, and Mimi Thi Nguyen have donated primary source material. The collection is the brainchild of Lisa Darms, Senior Archivist at the Fales Library. According to Jenna Freedman, a librarian who maintains a zine collection at Barnard College, "It's just essential to preserve the activist voices in their own unmediated work, especially because of the media blackout that they called for". Kathleen Hanna, while understanding no collection can replicate the concert experience, feels the collection is a safe place that will be "free from feminist erasure".

As media attention increasingly focused on the emerging grunge and alternative rock scene in the mid-nineties, the term "Riot Grrrl" was often used as a catchall for female-fronted bands and applied to less political alternative rock acts. While many female-centric or all-women rock bands, such as Frightwig, Hole, 7 Year Bitch, Babes in Toyland, the Breeders, the Gits, Lunachicks, Liz Phair, Veruca Salt, and L7, shared similar DIY tactics and feminist ideologies with the riot grrrl movement, not all of these acts self-identified with the riot grrrl label. "It used to frustrate me when posters would say 'all-girl band' or 'riot grrrl'," recalled L7's Donita Sparks. "We cheered loudly when we went to Italy: it said, 'Rock from the USA.'" Courtney Love, in particular, felt the need to disassociate with Riot Grrrl as a whole:

As supportive as I am of them, there's a faction that says, "We don't know how to play, but we're not going to follow your male-measured idea of what good is." Look, good is Led Zeppelin II. That's fucking good. And I'm not going to sit here and say you're a good band when you suck. They're like, "But we're entitled to suck." Really? We work so hard to get good at what we do without covering up who we are as women.

To their chagrin, in 1992 riot grrrls found themselves in the media spotlight of magazines from to . Newsweek's headline was "Riot Girl is feminism with a loud happy face dotting the 'i'," and ran a headline saying "From hundreds of once pink, frilly bedrooms comes the young feminist revolution." Fallout from the media coverage led to resignations from the movement, including Jessica Hopper, a teenage music critic who was at the center of the Newsweek article. Hopper, later the author of The First Collection of Criticism by a Living Female Rock Critic, said, "Some people were really upset because I talked to mainstream media about what I felt riot grrrl was...At the time there was much more of a chasm between the underground and the mainstream and people didn't want mainstream girls showing up to this, and I just thought, I didn't want to be part of something that wasn't for all women." To ease tension, Kathleen Hanna called a "media blackout" for that year.

In an essay from January 1994 that had been included in the double compact disc release of Bikini Kill's first two albums, Tobi Vail responded to media misrepresentation of Bikini Kill and riot grrrl in general:

Sharon Cheslow stated in EMP's Riot Grrrl Retrospective documentary:

There were a lot of very important ideas that I think the mainstream media couldn't handle, so it was easier to focus on the fact that these were girls who were wearing barrettes in their hair or writing 'slut' on their stomach.

Corin Tucker stated:

I think it was deliberate that we were made to look like we were just ridiculous girls parading around in our underwear. They refused to do serious interviews with us, they misprinted what we had to say, they would take our articles, and our fanzines, and our essays and take them out of context. We wrote a lot about sexual abuse and sexual assault for teenagers and young women. I think those are really important concepts that the media never addressed.

Other female-fronted punk bands, such as Spitboy, were less comfortable with the childhood-centered issues of much of the riot grrrl aesthetic, but nonetheless dealt explicitly with feminist and related issues as well. Lesbian-centric Queercore bands, such as Fifth Column, Tribe 8, Adickdid, the Third Sex, Excuse 17, and Team Dresch, wrote songs dealing with matters specific to women and their position in society, exploring issues such as both sexual and gender identity. A documentary film put together by a San Diego psychiatrist, Dr. Lisa Rose Apramian, Not Bad for a Girl, explored some of these issues in interviews with many of the musicians in the riot grrrl scene at the time.

The "Riot Grrrl" movement received criticism for not being inclusive enough. Emily White wrote for the Chicago Reader in 1992, "Riot Girls are often accused of being separatist: they want to form a life away from men and invent 'girl culture.'" One major argument was that the movement focused on middle-class white women, alienating other kinds of women. This criticism emerged early in the movement. In 1993, Ramdasha Bikceem wrote in her zine, Gunk,

Riot grrrl, especially in the 1990s, focused heavily on the use of the body as "message boards" for public demonstration. Riot grrrl faced similar issues as the original punk scene it was protesting against, in terms of its lack of intersectionality. Black women, specifically, did not feel the counterculture was a safe-space to express their lived experiences, anger, and art. Feeling excluded from the riot grrrl scene, Sista Grrrl Riots were created in the late 1990s by Tamar-kali Brown, Simi Stone, Honeychild Coleman, and Maya Sokora. Sista Grrrls created a space by and for Black women to freely express themselves through punk. The Sista Grrrl movement was foundational to contemporary Afro-punk. Tamar-kali later said, "I was a different type of girl. I was hearing what they were saying, but I was living in an environment where people were getting stabbed. Riot Grrrl felt like a bubblegum expression."

Musician Courtney Love criticized the movement for being too doctrinaire and censorious:

Look, you've got these highly intelligent imperious girls, but who told them it was their undeniable American right not to be offended? Being offended is part of being in the real world. I'm offended every time I see George Bush on TV!

Some have suggested that, while riot grrrl bands worked to ensure their shows were safe spaces in which women could find solidarity and create their own subculture, some higher-profile riot grrrl bands participated in the Michigan Womyn's Music Festival, a trans-exclusionary events that had a " womyn-born womyn" policy. Former members of Le Tigre saw protests at their shows for having participated in the festival in 2001 and 2005. However, Kathleen Hanna stated directly that she supported trans rights on her own Twitter account. Additionally, JD Samson, another former member of Le Tigre, is genderfluid. The Michigan Womyn's Music Festival, celebrated its last annual festival in 2015. The Advocate speculated that the decision was related to ongoing controversy over the festival's decision to not admit transgender women.

Kathleen Hanna acknowledged some of these critiques in her zine April Fools' Day. When describing her traumas related to addiction, she said: "It seems to me that each addict functions within his/her one context in terms of race, gender, location, class, personality, access, etc. ... so it would be ridiculous for me to try and write a 'manifesto' or a 'universal account' of how addiction works." Hanna followed a legacy of privilege-checking in riot grrrl culture and the community commitment to differentiate between personal experiences and trauma from systemic oppression when necessary. Riot grrrl activists have often tended to create themselves into marginalized subjects to strengthen their credibility within the subculture without recognizing their positionality.

Carrie Brownstein of Excuse 17 and Sleater-Kinney in 2005

In the foreword to the 2007 book, Riot Grrrl: Revolution Girl Style Now!, Beth Ditto writes of riot grrrl,

Additionally, Ditto writes about riot grrrl's influence on her personally and on her music. She muses on the meaning of the movement for her generation,

Until I found riot grrrl, or riot grrrl found me I was just another Gloria Steinem NOW feminist trying to take a stand in shop class. Now I am a musician, a writer, a whole person.

Many women write to Hanna in hopes of reviving the Riot Grrrl Movement. Hanna says, "Don't revive it, make something better". In 2010 Girls to the Front: The True Story of the Riot Grrrl Revolution became the first published history of the riot grrrl movement. The author had also attended Riot Grrrl meetings herself. As of 2019 there were approximately ten weekly riot grrrl meetings held nationwide and bands multiplying faster than can be counted.

The Regrettes formed in 2015 and merge riot grrrl with elements of doo-wop[159]

In 2013 Astria Suparak and Ceci Moss curated Alien She, an exhibition examining the impact of Riot Grrrl on artists and cultural producers. Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance-a reflection of the movement's artistic diversity and mutability. It opened September 2013 at the Miller Gallery at Carnegie Mellon University in Pittsburgh, and ran through February the following year. It visited four subsequent art spaces (Vox Populi in Philadelphia, Pennsylvania, March - April 2014; Yerba Buena Center for the Arts, San Francisco, October 2014 - January 2015; Orange County Museum of Art, Newport Beach, California, February - May 2015; and Pacific Northwest College of Art: 511 Gallery and the Museum of Contemporary Craft in Portland, Oregon, September 3, 2015 - January 9, 2016).

The term "grrrl" (or "grrl") itself has since been co-opted or used by agencies as diverse as advocacy on behalf of the Electronic Frontier Foundation (GRRL POWER 1.0 5-PACK / Memetics for the Ladies) and a roller derby league in Singapore.

The resurgence of riot grrrl is clearly visible in fourth-wave feminists worldwide who cite the original movement as an interest or influence on their lives and/or their work. Some of them are self-proclaimed riot grrrls while others consider themselves simply admirers or fans. In an age where Internet is the most accessible platform for individuals to express themselves, the fourth-wave riot grrrl community has risen in popularity in recent years. Not only do these online platforms capture discussion regarding larger topics of intersectional oppression, but they also provide space for budding feminists to express smaller issues, such as the successes and challenges of their everyday lives. Young feminists have harnessed the internet as a forum for self-determinism and genuine, open expression: a core part of the riot grrrl message that allows young adults room to decide for themselves who they are. As both a purported musical genre and as a subculture, riot grrrl has been acclaimed as an influence on contemporary groups as varied as Kitten Forever, Skating Polly, the Shondes and the Ethical Debating Society. Additionally, the riot grrrl movement has influenced an eclectic array of music genres and art in modern times.

Skating Polly performing in September 2018

In January 2019, Bikini Kill announced their reunion tour for the first time since their last show in Tokyo 22 years ago. The Guardian stated in an article about reunion that the once-underground riot grrrl movement has gone mainstream due to word of mouth from celebrities and the increased attention to other modern feminist developments such as the Me Too movement. In the same article, drummer Tobi Vail stated her frustration with lack of social progress related to feminism.

Vail also explained the aims of their reunion, that women discover the band and understand their history, especially those who did not have the opportunity to hear them during the original riot grrrl movement.

Pussy Riot. Photo by Denis Bochkarev.

Since its beginnings, the riot grrrl movement was attractive to many women in varied cultures. Its spread across the world established bands in Brazil, Paraguay, Israel, Australia, Malaysia, and Europe, and its globalization was also aided by the distribution of zines across Asia, Europe, and South America. The discovery of riot grrrl provided women across the globe with access to an outlet that challenged the dominant culture's attitudes toward the female body through a form of self-expression that previously was often inaccessible to women in non-western nations. In addition to becoming a vehicle of expression for equality, bands in the genre affected the status quo of the music industry by challenging the gender norms that favoured male musicians.

One of the most well-known bands to come out of the globalization of the riot grrrl movement is Pussy Riot, a Russian group formed in 2011 who self-identify as twenty-first century Russian riot grrrls. Pussy Riot first came to popular media attention in 2012 when they staged a protest performance of "Punk Prayer" at the altar of Moscow's largest cathedral. The song includes an appeal to the Virgin Mary to banish Putin. All three members of Pussy Riot were convicted of hooliganism and sentenced two years' imprisonment.

Pussy Riot performs music with themes of feminism, LGBT rights, and opposition to the policies of Russian president Vladimir Putin, whom the group considers to be a dictator. Pussy Riot embraces the ideals of riot grrrls by challenging the political climate they personally experience as well as the homophobic and patriarchal elements of everyday Russian life.

Gottlieb, Joanne and Gayle Wald. "Smells Like Teen Spirit: Riot Grrrls, Revolution, and Women in Independent Rock." Microphone Fiends: Youth Music and Youth Culture. Eds. Andrew Ross and Tricia Rose. New York: Routledge, 1994.

Kaltefleiter, Caroline K. (2016). "Start your own revolution: agency and action of the Riot Grrrl network". International Journal of Sociology and Social Policy. 36 (11/12): 808-823. doi:10.1108/IJSSP-06-2016-0067. ISSN 0144-333X.

Kearney, Mary Celeste. "Brought to You by Girl Power: Riot Grrrl's Networked Media Economy," Girls Make Media. New York: Routledge, 2006. ISBN 0-415-97278-7.

Kearney, Mary Celeste. "'Don't Need You': Rethinking Identity Politics and Separatism from a Grrrl Perspective," Youth Culture: Identity in a Postmodern World . Ed. Jonathan Epstein. Cambridge: Blackwell, 1998. ISBN 1557868506.

Kearney, Mary Celeste. "The Missing Links: Riot Grrrl-Feminism-Lesbian Culture." Sexing the Groove: Popular Music and Gender. Ed. Sheila Whiteley. New York: Routledge, 1997. ISBN 0-415-14670-4.

Leonard, Marion. "Feminism,'Subculture', and Grrrl Power." Sexing the Groove: Popular Music and Gender. Ed. Sheila Whiteley. New York: Routledge, 1997. ISBN 0-415-14670-4.

Nguyen, Mimi Thi. "Riot Grrrl, Race, and Revival." Women & Performance 22. 2-3 (2012): 173-196.

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Riot grrrl is an underground feminist punk movement that began during the early 1990s within the United States in Olympia, Washington and the greater Pacific Northwest and has expanded to at least 26 other countries. Riot grrrl is a subcultural movement that combines feminism, punk music, and politics.