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Girls and Subcultures
Abstract
Very little seems to have been written about the role of girls in youth cultural groupings. They are absent from the classic subcultural ethnographic studies, the pop histories, the personal accounts and the journalistic surveys of the field. When girls do appear, it is either in ways which uncritically reinforce the stereotypical image of women with which we are now so familiar … for example, Fyvel’s reference, in his study of teddy boys,1, to ‘dumb, passive teenage girls, crudely painted’ … or else they are fleetingly and marginally presented:
It is as if everything that relates only to us comes out in footnotes to the main text, as worthy of the odd reference. We come on the agenda somewhere between ‘Youth’ and ‘Any Other Business’. We encounter ourselves in men’s cultures as ‘by the way’ and peripheral. According to all the reflections we are not really there.2
... Following media historian Susan Douglas's (1995) call to go where the girls are, girlhood scholars locate the contested geographies of girlhood in places as distinct as the school washroom and toilet, the playing fi eld, the school bus, the public park, the offi ces of policy makers, the river bank, and, of course, as McRobbie andGarber (1976, 1991) clearly established almost four decades ago, the bedroom. "Children's identities," feminist geographers Sarah Holloway and Gill Valentine argue, "are constituted in and through particular spaces" (2000: 765) that, as girlhood studies scholars argue, is further modifi ed by gender (see James 1990). ...
... Following media historian Susan Douglas's (1995) call to go where the girls are, girlhood scholars locate the contested geographies of girlhood in places as distinct as the school washroom and toilet, the playing fi eld, the school bus, the public park, the offi ces of policy makers, the river bank, and, of course, as McRobbie andGarber (1976, 1991) clearly established almost four decades ago, the bedroom. "Children's identities," feminist geographers Sarah Holloway and Gill Valentine argue, "are constituted in and through particular spaces" (2000: 765) that, as girlhood studies scholars argue, is further modifi ed by gender (see James 1990). ...
... Although I have started with 1989, for me and for Montreal as a site of collective memory, it is, of course, far from the beginning, and some of the most generative and ground-breaking work in the study of girls' lives was already well underway. McRobbie andGarber ([1981]1991), for example, responded to Paul Willis's notion of lads on the street corner in Learning to Labour: How Working Class Kids get Working Class Jobs (1977), by putt ing on the map the idea of adolescent girls and bedroom culture, and the commoditized world of romance as consumed in magazines like Jackie and Just Seventeen. So it was a world about spatiality; long before people were talking about girls' geographies, McRobbie and Garber's work also put girls' agency on the map in a practical way. ...
... Although I have started with 1989, for me and for Montreal as a site of collective memory, it is, of course, far from the beginning, and some of the most generative and ground-breaking work in the study of girls' lives was already well underway. McRobbie andGarber ([1981]1991), for example, responded to Paul Willis's notion of lads on the street corner in Learning to Labour: How Working Class Kids get Working Class Jobs (1977), by putt ing on the map the idea of adolescent girls and bedroom culture, and the commoditized world of romance as consumed in magazines like Jackie and Just Seventeen. So it was a world about spatiality; long before people were talking about girls' geographies, McRobbie and Garber's work also put girls' agency on the map in a practical way. ...
... We obtained informed consent from Thina Curtis to use excerpts for sociological analysis. 4 We highlight that traditional conceptualisations of subculture define it as a counter-hegemonic set of practices (Hall and Jefferson 1976;Hebdige 2018;McRobbie and Garber 1997;Willis 1981). This conception has given rise to some important criticisms since the 1990s. ...
Thina Curtis, pedagogue and creator of fanzines in Brazil, has built a trajectory marked by resistance and the expression of a counter-hegemonic ethos that permeates all her production. From an early age, Thina became involved with punk culture, where she found in fanzines a means to express and amplify marginalised voices, challenging sexism, discrimination, and inequalities. Her work and performance stand out for a visceral opposition to fascism and intolerance, while seeking to build a transformative and inclusive pedagogy. Fanzines, in Thina’s practice, are a means of critical and anti-neoliberal pedagogy that not only questions the traditional educational system but also promotes participatory education. This approach places Thina and other social agents—women, youth, prisoners, and disadvantaged communities—as co-creators of knowledge, breaking with the idea of one-way teaching. Through a qualitative and biographical methodology, centred on the life trajectory of Thina Curtis, we examine fanzines as adaptable pedagogical tools that challenge curricular rigidity and encourage critical and participatory training, essential for the decolonisation of knowledge and for social transformation.
... The women's spaces of the home, the spaces of the girl's room, were left out of these investigations. The other critical element concerns resistance, since according to the McRobbie and her colleagues, media use does not necessarily have to mean resistance, in the case of girls it can simply be a source of pleasure (McRobbie and Garber, 1978). Australian media researcher Andy Ruddock believes that "this is why the workings of mobile media culture cannot be understood without feminist media theory, especially because the trend has developed around the problems of teenage girls' media use." ...
For about a decade and a half, increasing research attention has been paid to the role of women in the technological and content shaping of digital media industries (Gender Equality 2018). This study wants to give an idea of how the digital presence of Hungarian women journalists can be characterized, their opportunities in the world of the network, and what is their relationship to artificial intelligence? What AI tools do they use in their personal and professional lives. We also present whether there are gender differences between male and female journalists in the application of AI in Hungary. The study relies on the European Union's Women in Digital research data for the given period.For about a decade and a half, increasing research attention has been paid to the role of women in the technological and content shaping of digital media industries (Gender Equality 2018). This study wants to give an idea of how the digital presence of Hungarian women journalists can be characterized, their opportunities in the world of the network, and what is their relationship to artificial intelligence? What AI tools do they use in their personal and professional lives. We also present whether there are gender differences between male and female journalists in the application of AI in Hungary. The study relies on the European Union's Women in Digital research data for the given period.
... Across the 2000s and 2010s, screen media culture was "saturated with fairy tale narratives, themes, and images" (Athena Bellas 2017, v). Although these narratives often sought to revise the fairy tale through their retellings, the genre's traditional representation of girlhood remained: one of youthful femininity, sexual attractiveness, and intrinsic gentleness alongside contemporary iterations of sassiness and girl power (Bellas 2017;Angela McRobbie and Jenny Garber 1976). While girlhood studies insists not all girls can or should be lumped together (Claudia Mitchell, Jacqueline Reid-Walsh and Jackie Kirk 2008), there are commonalities in the internalisation of, and resistance to, patriarchal values (Greer Litton Fox 1977). ...
Provoking questions about morality and civility, survival narratives which feature young adults often offer new visions of social organisation by positing extreme scenarios of isolation and breakdown. In Showtime's Yellowjackets, the survivor-protagonists are framed as monstrous, but also as disruptive "others" with the potential to unravel regulatory systems. By resisting gendered mythologies, the survivor-protagonists are associated with varying expressions of autonomy and agency, and an amplified sense of difference and abjection. In considering the subversive potential of an all-female Lord of the Flies, this paper explores how the central characters of Yellowjackets gain power by accessing and enacting forms of "otherness" in violent and radical ways. It argues that by rejecting the norms used to relegate women to the margins, the Yellowjackets profoundly unsettle, even corrupt, traditional conceptions of femininity and idealised visions of girlhood. ARTICLE HISTORY
... Internet aesthetics, referred to as micro-cores in this study, are an evolution of subcultures. A subculture can be defined as a group of individuals with shared interests, beliefs and behaviours that differentiate them from the mainstream culture (McRobbie and Garber 2007). These shared characteristics can manifest in various ways, including fashion choices, music preferences and even political views (Manaher 2023). ...
‘Aesthetics’ is the new ‘it’ word among Gen-Zs. They stand for stylized visual trends shared on social media platforms like TikTok and Instagram. The suffix -core is frequently used on these social media platforms to describe the various aesthetics. These micro-cores have emerged as mediums of self-expression and catalysts for social change amongst Gen-Zs. This study aims to understand the concept of trending micro-cores and the impact they have on framing identities of today’s youth, who have grown up amid warnings of impending doom brought on by climate change, pandemic lockdowns and economic collapse. The study discusses four micro-cores – Barbiecore, Y2K, quiet luxury and e-girl/e-boy – to understand their meaning, origin and relevance in current cultural contexts. It follows a qualitative approach with an interpretivist paradigm to develop themes from literature by analysing website, blogs and social media content. The study then triangulates the data by surveying Gen-Z participants to understand their perspectives on the influences that urge people to adapt to these micro-cores.
... La denominación bedroom cultures refiere originariamente a las vidas culturales que desarrollaban las jóvenes en la década de 1970 en sus dormitorios, alejadas de los posibles riesgos de la sociabilidad que encerraba el territorio masculino del espacio público. recluidas en esa privacidad, daban rienda suelta a sus fantasías, escribían sus diarios, leían revistas, cuidaban sus cuerpos (Garber y Mcrobbie, 1983;Feixa, 2011). ...
Desde 2022, Coca Cola ha lanzado sabores de gaseosas de edición limitada: la primera variante, Starlight, sabe a espacio exterior y la segunda, Byte u 8-bit, a píxeles. La sinestesia desafía a realizar formulaciones que excedan si gusta o disgusta la bebida, impulsa un debate lúdico en las plataformas mediáticas acerca del sabor del espacio, los píxeles. Este artículo analiza, mediante un herramental semiótico, una muestra de videos de youtubers que toman contacto con estas gaseosas, sin ignorar los comentarios inmediatos de la audiencia. Los comportamientos interpretativos de los exploradores indican el fracaso comunicacional de la movida.
... Assessing the scope of girlhood studies in Indonesia is our effort to contribute to the critical discussion of girlhood studies. Emerging in the past two decades as a subfield in youth studies, it has successfully opened the pathway for research projects and academic discussions that are critical of how girls and girlhood have been constructed by including perspectives from feminist media studies, gender studies, queer studies, critical race studies, critical development studies, cultural studies, and youth sociology (McRobbie and Garber, 1976;Harris, 2004aHarris, ,b, 2008Gonick et al., 2009;Kearney, 2009Kearney, , 2011Kearney, , 2018McRobbie, 2009;Taft, 2010Taft, , 2014Renold and Ringrose, 2013;Gill and Orgad, 2015;Mendes et al., 2019). ...
This perspective paper contemplates the nuances of engaging with literature ethically in conducting a scoping review based on the researchers' project on girlhood studies in Indonesia. We assert that the ethical perspective extends beyond conventional primary data collection from human participants, further emphasizing the essence of a feminist methodology in this scholarly investigation. We discuss the interplay between the role of rigor and the dynamics of power relations in research, shedding light on reconciling between the pursuit of facts and acknowledgment of biases in knowledge production. This reflection offers insights into the methodological process and the researcher's role, contributing to the broader discourse on how research can effectively address issues of gender equity and social inclusion. Through this paper, we underscore the necessity of an intentional approach in unifying the domains of science and advocacy because only then can we truly catalyze transformative change. In doing so, we seek to foster a more comprehensive, objective, and empathetic understanding of the researched: in this case, the experiences of girls and young women –and, by extension, marginalized individuals in Indonesia and beyond.
... The gendered coding of divergent tastes and listening practices is articulated explicitly by one head engineer in Seaver's study, who explains avidity by contrasting the repetitive listening to pop music by teenage girls with the explorative male jazz listener (ibid.). Like the marketing materials discussed above, these engineers ascribe value to "fluid" tastes, while "repetitive" tastes are devalued and continuously associated with subject positions -like teenage girls -whose tastes have been marginalized throughout the history of pop music (McRobbie and Garber 1981). ...
Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies.
... Girlhood identities are structured around popular image constructions. For example, Simon Frith (1981), Angela McRobbie and Jenny Garber (1975) observed that the structural semiotics of 'cock rock' and 'teenybop' reflect how the existence of fan cultures associated with western music present male participants as active agents and the female teen bodies as passive consumers. The teenybopper girl image signifies an immature fan obsessed with fashion and desires disseminated through popular music. ...
This article investigates how Bollywood cinema represented girlhood experiences in India in the early 1970s. It argues that the films during this time focused on representing girls who displayed a variety of new fashion styles and attitudes, some of which were borrowed from western cultures. This was a sign that there was a new way of representing girls which broke with the submissive, dull and melancholic sari-wearing Indian female stereotype entrapped within domestic settings. The immediate result of this was the emergence of new style leaders and popular icons in Indian popular cinema. This study uses Stephen Greenblatt’s concept of self-fashioning and Guy Mankowski’s idea of self-design to examine how Indian girlhood was renegotiated in the 1970s as an individual-centric idea with more agency and power. Here, self-fashioning refers to the way girls adopt new elements of fashion, styles and attitudes to distinguish their identity from earlier archetypal modes of representation in film and culture. It specifically analyses the emergence of Jaya Bhaduri in Guddi (1971) and Dimple Kapadia in Bobby (1973) as case studies to understand the transformation of girlhood representations in early 1970s Bollywood that opened a new space for girls to redefine their selfhood through the assimilation of consumerism, western culture and fashion styles.
... For young female fans today, there is a notable prevalence of "bedroom culture," meaning that it's common for them to listen to music, hang posters, discuss artists, etc. in domestic spaces like their bedrooms and those of friends, rather than a public sphere (McRobbie and Garber, 1990). Because bedroom culture is more secluded, it has connections to how female fans have long been systematically dismissed and reduced by other fans and dominant music discourses. ...
Boy bands have long been disparaged in music journalism, in part because of their association with teenage and prepubescent girls who are their primary fans. This study uses media stereotypes of musicians and their fans to see how the interplay of age and gender among these two constituencies is associated with negative stereotyping in music journalism. This study fills a gap in scholarship with a quantitative comparison of how modern boy bands and their fans are stereotypically portrayed compared to non-boy bands and their fanbases in a generalizable way. A content analysis of UK and U.S. music journalism from 2010 to 2015 finds that young women music fans continue to be stereotyped, and that boy bands are diminished through stereotypes that are gendered feminine, most prominently about their age and youth, authenticity of the music, and innocent sexuality. However, the boy bands were not diminished through feminine tropes more closely aligned with women fans, such as with the use of emotional language. Being young and male does not automatically mean marginalization and stereotyping, however – the young men in the non-boy bands were consistently referred to in non-stereotypical ways.
This article investigates how leisure activities inform identification processes among British Bangladeshi Muslim women in Tower Hamlets, London. Focusing on women-only events organised in community centres that cater to British Bangladeshi women, we explore the significance of these spaces in the negotiation and maintenance of identity and community. Based on a two-year ethnography conducted as part of the research project Migrant Memory and Postcolonial Imagination , we argue that women-only leisure activities are part of a strategy of momentary self-exclusion, which is central to the articulation of a politics of location for participating women. The focus on leisure contributes to the literature on diaspora studies by providing a more holistic understanding of questions of belonging.
This paper revisits the subcultural/post-subcultural debate, with Goth culture as its subject of study. Both theories and their differences are presented, as well as the need for reflection on current alternative cultures. To this end, the paper focuses on Paul Hodkinson's reformulation of the subculture concept and seeks to assess its relevance to Goth culture. This is accomplished through an empirical study with Portuguese Goths to examine its applicability in the current context and confirm or refute the presence of subcultural substance indicators in Goth culture. The conclusion acknowledges the complexity of this particular culture and asserts that it remains a subculture, but now more diverse, fragmented, and influenced by post-subcultural traits than before. This complexity led to the proposal of referring to the Goth culture with a new term, such as ambivalent subculture, acknowledging its subcultural and post-subcultural characteristics.
In this article we examine the discourse surrounding girlhood in Indonesia through a scoping review of research and gray literature from 2013 to 2022, alongside reference to a workshop with researchers and advocates. Themes related to sexuality and reproduction are dominant in our findings. We argue that the scholarly and civic engagements with knowledge about girls and young women in Indonesia limit the modality of knowledge production and change. We propose a shift towards critical approaches in the investigation of girlhood in Indonesia and the Global South that involves a commitment to epistemic gathering to develop methodologies that include interrogating our assumptions, contextualizing girlhood, and fostering interdisciplinary collaborations to better understand the diverse realities of girls and young women in Indonesia and beyond.
In this article, the question ‘Why Can´t Banksy Be a Woman’ is a point of departure to approach some of the pressing challenges regarding sex and gender in graffiti and street art studies, in order to contribute on the matter of the presence/absence of women graffiti and street artists in this epistemological field. To this aim, I summon feminist contributions on the invisibility of women in the established art world, namely from art historians Linda Nochlin and Griselda Pollock. I map important contributions on the question of women in graffiti, by referring to graffiti scholars Nancy MacDonald and Jessica Pábon-Cólon. As street art has been considered more gender inclusive in regards to conditions of production, I locate restrictions mainly in terms of reception. Finally, I suggest that the question of women in graffiti and street art studies is larger than sex and gender.
This participatory, comparative research project aims to document and analyze gang-related phenomena in three overseas territories (Martinique, Guadeloupe, Mayotte). The project will focus on collaborating with key stakeholders involved in preventing and supporting young people engaged in these activities.
The main goals of the study are as follows:
1/ To provide an overview of youth gangs and the types of delinquency associated with them in these territories; 2/ To deepen our understanding of youth gangs by using a multidimensional comparative approach (comparing these territories to mainland France, comparing among the overseas territories, and contextualizing within their geographic settings); 3/ To explore how various organizations (local governments, associations, educational and school institutions, etc.) address the educational management of gang-related issues; 4/ To map the network of organizations involved in managing juvenile delinquency; 5/ To examine the development of local juvenile delinquency prevention policies and the specific challenges they face; 6/ To promote a better mutual understanding of the phenomenon and encourage the creation of communities of practice focused on gang-related delinquency prevention.
By focusing on educational initiatives, we aim to gain a deeper understanding of the personal and collective challenges associated with gang membership, from both the perspectives of young people and the professionals involved.
On a broader scale, this action-research project aims to foster collaboration between institutions and territories, which could lead to the creation of communities of practice. This will help strengthen local interventions and develop more effective, context-specific juvenile delinquency prevention policies for the overseas territories.
The project uses an action-research approach to create a synergy among stakeholders involved in conflict prevention, many of whom do not know each other and rarely share their resources or knowledge. The project will unfold in five phases over 24 months: creating a community (4 months); starting the shared diagnostic process (5 months); self-reflection (4 months); inter-group diagnostic confrontation (2 months); and developing intervention strategies (9 months).
Special attention will be given to the ethical challenges and data-sharing/management issues posed by coordinating remote research (from mainland France) on a "sensitive" topic.
Digital methods in healthcare research have been steadily gaining ground but, until recently, were superseded by conventional face-to-face approaches wherever possible. However, the COVID-19 pandemic rendered in-person forms of data collection largely impossible, propelling digital approaches to the forefront. This book offers a digital lens in the participatory perspective of ethnography, a qualitative methodology. A series of chapters from internationally distinguished and rising authors present digital platforms and techniques and apply these to a wide range of healthcare studies. The authors highlight the different aspects of digital research approaches as well as reflecting on and proffering digital approaches to qualitative research for the future. Will these new digital health techniques be embraced, or will researchers be keen to revert to the traditional methods? With its unique approach, this is an invaluable resource for both prospective and experienced qualitative researchers in a broad array of medical and health disciplines.
Where women were once historically at the forefront of computer programming, contemporary tech culture erases their participation. Today, however, tech-competency is showcased as feminine in online Pink pc build videos, which contest dominant narratives that place tech culture adjacent to geek masculinity. Before young people were building their own Pink pc ’s, Apple’s G3 series represented an earlier articulation of feminine computer design. Apple’s rounded, colourful personal computer became an unconventional marker of femininity. Pink pc s challenge technology’s prevalent masculine-coding. Their hyperfeminine designs reflect possible agentic identity expression and resistance to hegemonic masculine taste values. Yet, the Pink pc also surfaces in corporate and post-feminist contexts and cultures, typically restricted by economic mobility. This article explores these contradictions through the Pink pc , from Apple’s G3 to Pink pc builds today, developing understandings towards feminist science and technology studies, invisible gaming cultures, and Critical Femininities.
The purpose of this study was to investigate if and how the perspective on children’s leisure time within a Swedish community school differs in terms of gender. The empirical material draws from a case study of one community school where interviews with employees were conducted to answer the research questions. The interviews were analysed using a theoretical framework of today’s public governance, with a particular interest in place- and gender-specific interventions. The results show that initiatives directed towards children’s free time are discussed as a strategy to organise free time in the area. In summary, children’s free time within the community school is discussed in terms of risk due to the predominant notions of the area as plagued by violent masculinity that affects both boys and girls. Additionally, the construct of gender depends to a high degree on that notion. Girls are seen as invisible, whereas boys are seen as (too) visible. It seems that girls are understood as being in need of activities due to their home conditions, whereas boys are understood as being in danger of other socially degrading activities that take place in the school’s surrounding streets.
This article examines musical participatory practices on TikTok as mediations of ordinary feelings and knowledges. It conducts a multimodal analysis of user-generated videos that recirculated the song “Complex” by Scottish singer-songwriter Katie Gregson-MacLeod, which became widely successful on the app in 2022. Through its features and sociotechnical affordances, TikTok fosters feminine-coded articulations of intimate affects and negotiations of ordinary feelings and knowledges that have been marginalized in popular music cultures. Its intersecting algorithmic logics and human practices also create new rules about what affective sensibilities are foregrounded and how they are circulated through multimodal and memetic participatory practices.
Learning Disability and Everyday Life brings into conversation ideas from social theory with “thick” descriptions of the everyday life of a middle-aged man with learning disabilities and autism.
This book is markedly ethnographic in its orientation to the gritty graininess of everyday life—eating, drinking, walking, cooking, talking, and so on—in, with, and alongside learning disability. However, preoccupation with, the “small” coexists with a gaze intent upon capturing a bigger picture, to the extent that the things constituting everyday life are deployed as prisms through and with which to critically reflect upon the wider worlds of dis/ability and everyday life. Such attention to the small and the big—the micro and the macro—allows this book to explore the ordinary and everyday ways meanings about normalcy and abnormalcy, ability and disability, are put together, enacted, practised, made (up)—in the sense of constituting and fabricating—and, crucially, accomplished through and between people in specific, and invariably contingent, sociocultural, discursive, and material conditions of possibility.
This book will be of specific interest not only to students and scholars of disability but also to persons with lived experiences of disability. This book will also be of interest to students and scholars of anthropology and sociology.
Los estudios subculturales, así como los relativos a las culturas y consumos juveniles, son una rama cada vez más importante. No obstante, la llegada de estas teorías se ha producido con cierto retraso en España, lo que ha provocado que la recepción de estas escuelas se haya hecho de forma acrítica. Este texto parte de una revisión profunda de dicho concepto, analizando su origen y evolución en la academia de habla inglesa, para discutir después su uso y aplicación dentro de la academia española a partir de diversos trabajos sobre músicas populares en España.
Subcultural studies, as well as those related to youth cultures and consumption, are an increasingly important branch in various areas. However, the arrival of these theories has occurred with some delay in Spain, which has caused the reception of these schools to have been done uncritically. This text is based on a critical review of this concept, analyzing its origin and evolution in the English-speaking academy, to then discuss its use and application within the Spanish academy based on various works on popular music in Spain.
These music articles were commissioned by an editorial board as part of our former online-only review article series. We are offering them here as a freely available collection.
Hindi na bago sa madla ang imahen ng isang fan. Subalit, problematikong isipin na ang pagpapahalagang nabubuo ukol sa kanila, partikular na yaong pagtingin sa mga kabataang babaeng taga-hanga, ay nagmumula sa paglalarawang pinalalaganap ng mito at media na palaging nauuwi sa deskripsyong humaling na humaling at isterikal sa puntong nagiging mapaminsala at kahiya-hiya kung kaya't kinakailangang disiplinahin at bantayan. Sa pagsulong ng internet bilang panibagong espasyong kinalalagakan ang mga kabataang fans at ang kanilang mga praktis, may pangangailangang makapagbigay ng bago at masaklaw na paglalarawan sa mga fans kung saan nakapaloob ang bagong dinamika ng pakikipag-ugnayan at bagong pagtingin sa konsepto ng 'pagbibigay suporta' na madalas taliwas sa inaasahan at ipinapataw ng dominanteng industriya. The images of fans to audiences are nothing new. However, it is problematic to think that the perceptions about them, particularly that of young female fans, emanate from myths and media depictions that describe them as fanatical and hysterical to the point of being destructive, embarrassing, and therefore needing discipline and supervision. As the internet provides new spaces for young fans and their practices, there is a need to give new and comprehensive profile to fans where new dynamics and new ways of looking and 'showing support' goes against the expectations and demands required for by the dominant industry.
Mga Panandang Salita: Fans, fandom, fangirling, Stan culture
The emergence of youth as a specific cohort of population is associated with industrialization and is linked with the need for extended training and education for entering the labour market. Rising prosperity, high educational demands of the economy and rapid social change have collectively contributed to the emergence of a stage of life called youth. The youth occupy the in-between space between school and work. Many of them enter college. The congregation of large number of similar aged people sharing the same position in the social structure heightens the generational identification. Generational consciousness also entails a feeling of psychological disconnection from previous generations, their life situations, and their ideologies. This creates ripe conditions for the emergence of youth cultures. Youth cultures are profoundly influenced by media and globalization. In this research paper describe the features of youth culture; and discuss the impact of globalization and media on youth culture.
This article focuses on two countries usually represented as (semi-)peripheric: Portugal and Brazil. At stake is a metaphorical perspective of the Global South as equivalent to most (although not all) low-income and often politically or culturally marginalised territories. The use of this concept marks a shift from a central focus on development or cultural difference towards an emphasis on geopolitical power relations. Using the examples of Brazil’s PWR Records and padê editorial, and Portugal’s Príncipe Discos, the article highlights a series of manifestations of a radical habitus that has materialised in underground musical-creative creations, which increasingly have emerged as a stage for contemporary resistance. These examples demonstrate the spurious nature of the division between the concepts of the art of resistance and the art of existence : they are artivist resistances that enact working utopias. In many such projects, we find artivists with a (sub)cultural do-it-yourself background, who are not afraid to combine art and politics, and who reject the old idea of ‘art for art’s sake’. An art of resistance emerges that, in the cases analysed, is linked to the adherence to new social movements, such as feminism, LGBTQIA+ rights, the right to the city and anti-racism. Using a qualitative methodology, with a strong multi-sited ethnographic slant based on interviews and documentary analysis, we demonstrate how the artistic imagination of contemporary youth is materialised in combined resistance and existence for a place in the world.
Music podcasts use a variety of listening modes to draw non-musically trained listeners into close readings of songwriting, production, and reception. Taylor Swift has attracted the attention of music podcasters who have devoted individual episodes and entire serial podcast to topics ranging from her celebrity feuds and well-publicized relationships, her autobiographical and deeply referential song texts, her savvy branding strategies and relationships with fans, and her public rejoinders to music industry inequities, such as her Taylor’s Version re-recordings. In the case of several Swift podcasts, these expert listeners are also avid fans, challenge the stereotype that avid pop fans are only amateur listeners. Her fans, notably those who self-identify as Swifties, are also active podcasters. This article is about listening to the sonic environments of fan-driven podcasting and the sonic spaces of fandom through music podcasting. This article engages with the sound and content of fan-driven music podcasting and the listening techniques used by hosts to listen to both the music of the artist where their fandom is centered, as well as the paramusical elements of their star persona and sonic strategies used by hosts to shape a virtual sonic environment where listeners listen with and through the hosts’ embodied listening. Through two case studies, The Swift Talk and Switched on Pop, I demonstrate how fan-driven Swift podcasting is sonically constructed and approaches listening as an inclusive social, analytic, and embodied practice of communicating fan musical knowledge to produce new insights into how listening, songwriting, star persona, and fandom are articulated in fan podcasting.
Social media, which has become more essential in people's lives over the last two decades, on the one hand, creates a new social condition, a digital society, and on the other, changes people's everyday lives to a large extent. Social media deepens an intergenerational conflict between the young people who grew up with it, commonly referred to as the Z-generation, and the older generations, who are struggling to adapt to this new situation. As a reflection of this situation of conflict, bias towards younger generations occupies an important place in a significant part of the studies on social media. In these studies, young people are often portrayed as actors who, by all means, are permissible to become famous, pragmatists, and corrupt the moral values of society. Emerging as a critique of such approaches, this study tries to comprehend the new social condition created by social media. The study is based on a nethnographic analysis of the 58 highest-rated videos shot under the Buss It Challenge, which became a trend among young people on TikTok in early 2021. The study, on the one hand, reveals young people's perceptions of the ideal life and ideal body; on the other hand, it questions the projections of intercultural and gender differences in such videos. As a result, the study claims that an understanding of fame based on the sexualization of the female body, which is an important component of social media culture, is significantly shaped by neoliberal and patriarchal expectations, and social media alters the perception of time and space, which in turn reshapes the private and the public.
In this article, I focus on the contexts in which the Brontë juvenilia and Riot Grrrl zines were created, rather than offering a literary study of them. My focus is on how the different creators produced their texts. I explore the theoretical approach of feminist media studies with particular attention to its notions of identity formation as foundation for the comparison of these texts. I outline the Brontë juvenilia and provide a brief history and background of Riot Grrrl zines and offer a comparative analysis of the two media. I conclude by identifying the importance of studying girls’ engagement with the practice of writing in terms of identity formation and expression, and suggest ways that this study can be applied to future critical work.
Pranks, jests and comic performances inducing laughter are everyday social media affordances on platforms like Instagram, the image and video sharing platform. Simultaneously, humour has a long tradition of subverting and ridiculing social norms by actors on the margins of power. But insights into Middle Eastern women’s funny performances on Instagram represent a gap in media and communications research. This study takes the case of three comic Middle Eastern women social media influencers to consider how their humorous Instagram performances might develop agencies for empowerment while articulating the boredom and constraints of women’s inequalities within the domestic sphere and beyond. A novel feminist postdigital framework explores the collapsed context of social media and illustrates modes of veiled humour navigating the Middle East and North African patriarchal bargain. Enquiry reveals refractive and indirect humour, with meanings below the radar. Overall, the study illustrates the political significance of Middle Eastern women’s laughter and emerging comedy for articulating ‘hazl’ (farce), ‘tahakkum’ (taunt) and ‘sukhri’iya’ (poking fun, including forms of sarcasm and irony) as comic resistance to women’s oppression through subversive and destabilising laughter.
This paper first investigates why the main strands in conventional subcultural and post-subcultural research have neglected the collective and material aspects of subcultural practice. It then investigates more recent attempts to include collectivity and materiality in the analysis and seeks to further develop such perspectives. In this way the paper seeks to demonstrate the need for a new embedded perspective on the material and collective dimensions of subcultural practice. In the first part of the paper, I embark on a critical reading of the traditional ‘schools’ of subcultural and post-subcultural theory. I seek to show that they all suffer from a blind spot in regard to collective and material embeddedness. In the second part, I analyse a number of ‘thick’ empirical accounts of subcultural collectivity, creativity and interchange with material and musical objects. I attempt to develop these descriptions further and seek to show how they may benefit from having more attention paid to collective and material embeddedness, as well as to the interchange between these two dimensions in subcultural practice. I hope to thus demonstrate how the embedded perspective may contribute to analyses of subcultural creativity and lived subcultural experience.
La Transición española es un período ampliamente analizado y documentado desde una perspectiva política, si bien otras áreas, como la cultura, han recibido menor atención. Este libro trata de profundizar en el mundo de la música pop-rock durante ese período, en las escenas y géneros musicales que emergen, en el papel que jugó la prensa musical, y en su relación con la juventud y los movimientos sociales de la época.
Si hay una escena musical analizada en este país, esa es la Movida madrileña. Este libro trata de abrir la visión de esos años, planteando que la Movida no estuvo sola: otras escenas musicales y culturales marcaron el devenir de la misma, y la acompañaron en su evolución. Escenas como el rock urbano, el heavy metal, el rock andaluz o el rock layetano, que nacen casi a la par que la Movida, y cuyo impacto no ha sido analizado ni estudiado en profundidad.
Este trabajo propone abordar el estudio de estas escenas desde la sociología. Los estudios sobre música que se han realizado en este país lo han hecho desde perspectivas históricas, periodísticas, biográficas... La perspectiva sociológica puede proporcionar una visión más completa de estas escenas, enraizadas tanto en su contexto histórico (la Transición) como musical y artístico. Para ello, este trabajo aporta una serie de materiales documentales que no han sido trabajados ni analizados hasta ahora, como es la prensa musical del periodo, así como entrevistas en profundidad con músicos, periodistas y seguidores de estas escenas
From the question about the absence of girls in research that turns to juvenile cultures hegemonically dominated by boys, the article discusses the possibilities of articulation between the fields of gender and youth studies. To this end, in addition to resuming empirical research by the author himself, a meta-analysis of narrative review of academic literature in the field of youth studies is performed, especially ethnography, which, in some way, worked intersecting with gender issues. The objective is, based on the analysis of studies of hegemonically male youth cultures, to investigate the implications, for the research and its final results, of the specificities of the encounter between the representations of sex and gender of those who research and who lead the studied juvenile cultures.
The Noonday Underground
- T Wolfe
The Sound of Our Time
- . D Laing
Half Our Future: A Report
- J H Newsom
The Insecure Offenders
- T R Fyvel
- TR Fyvel