race. Cherríe Moraga and Gloria E. Anzaldúa had published the anthology This Bridge Called My Back (1981), which, along with All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave (1982), edited by Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith, argued that second-wave feminism had focused primarily on the problems of white women. The emphasis on the intersection between race and gender became increasingly prominent. In the interlude of the late 1970s and early 1980s, the feminist sex wars arose as a reaction against the radical feminism of the second wave and its views on sexuality, therein countering with a concept of "sex-positivity" and heralding the third wave. Another crucial point for the start of the third wave is the publication in 1990 of Gender Trouble: Feminism and the Subversion of Identity by Judith Butler, which soon became one of the most influential works of contemporary feminist theory. In it, Butler argued against homogenizing conceptions of "women", which had a normative and exclusionary effect not only in the social world more broadly but also within feminism. This was the case not only for racialized or working-class women, but also for masculine, lesbian or non-binary women. Besides, she outlined her theory of gender as performativity, which posited that gender works by enforcing a series of repetitions of verbal and non-verbal acts that generate the "illusion" of a coherent and intelligible gender expression and identity, which otherwise lack any essential property. Lastly, Butler developed the claim that there is no resource to a "natural" sex, but that what we call such is always already culturally mediated, and therefore inseparable from gender. These views were foundational for the field of queer theory, and played a major role in the development of third-wave feminist theories and practices. Early years Riot grrrl The emergence of riot grrrl, the feminist punk subculture, in the early 1990s in Olympia, Washington, marked the beginning of third-wave feminism. The triple "r" in grrrl was intended to reclaim the word girl for women. Alison Piepmeier writes that riot grrrl and Sarah Dyer's Action Girl Newsletter formulated "a style, rhetoric, and iconography for grrrl zines" that came to define third-wave feminism, and that focused on the viewpoint of adolescent girls. Based on hard-core punk rock, the movement created zines and art, talked about rape, patriarchy, sexuality, and female empowerment, started chapters, and supported