Through the study of Brazilian and American riot grrrl, I join a growing number of scholars asserting that an interconnected youth culture is a democratic force of globalization that challenges the cultural hegemony of any one country or region. However, it is apparent that unequal relationships remain entrenched in the structures that facilitate cultural flows. To illustrate the possibilities and limitations of contemporary youth culture, I examine the transnational trajectory of riot grrrl, a youth-based feminist movement centered upon music that embraces a variety of art forms and activism. Riot grrrl began in Olympia, WA in the early 1990s and quickly spread throughout North America and Europe, but by 1997 had largely disbanded. Yet the movement continues in Brazil, where local scenes connect through the internet to form the largest contemporary riot grrrl scene. However, Brazil lacks many of the mechanisms that formed the base of the movement in other countries, such as an underground zine network and cheap music technology. Why did riot grrrl continue in Brazil after it had faded elsewhere? To answer this question, I recount the spread of riot grrrl activity and consider how the meaning of the movement changes when it crosses national boundaries and introduces new methods. I inform my analysis with the work of scholars such as Chandra Mohanty, Andy Bennett, and George Lipsitz, as well as primary sources from the Brazilian and American scenes.    .pdf