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Since its birth in the early ‘90s, the riot grrrl movement has been criticized for being exclusive, and many of the earliest riot grrrl acts did follow a certain mold: white, American, cisgender, thin, English-speaking. Because of this exclusivity, many critics of the movement — and even its founders — have said riot grrrl is dead, and rightfully so. Others, like Larissa Oliveira, are less sure.

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t was a Wednesday afternoon in September. I sat in my anthropology class fidgeting in my chair and incessantly checking the time on my phone. I’d soon be slipping out the lecture hall to catch a train from Long Island to Manhattan. I thought back to the feeling of excitement that washed over me as I ordered the tickets for Black Pumas back in June. My anticipation for this show was unmatched, as it had already once been postponed, due to — you guessed it — COVID-19.

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When Adele posted the teaser for “Easy On Me,” the lead single from her new album 30, we all knew it was time to put our favorite artists out of her shining path. Because this is what Adele’s success looks like: a tsunami that breaks all possible records no matter what (or who) is in the way. No fanbase wants to compete with her.

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