The Four Horsemen/Mechanix of Snark Fandom: Megadeth, Nine Inch Nails, V.C. Andrews, and Sweet Valley High

Fandoms, like any type of subculture, have different shorthand ways of discussing things that only make sense within the group — such as frequently mentioning previous anger that has dissipated towards former Danish friends, the Wave Goodbye Activity Book, swan beds, and saying that “Regina Morrow is the reason I never tried cocaine“. Or even within the title of this post. But what brings these examples together is snark fandom — the ability to both be a fan and simultaneously make fun of the object d’fandom.

Snark fandom is an interesting display of fandom especially because to outsiders it seems as if there is only dislike, not the underlying (sometimes begrudging) enjoyment. The recent release of Dave Mustaine’s New York Times bestselling autobiography, Mustaine, has allowed metalheads of all permutations  — to make fun of the very same person that they have waited in line for hours to meet at book signings, to read yet another version of an almost thirty-year soap opera. Even if they do not believe any word of this most recent retelling of events — and joke about every contradiction.

Perhaps the closest more widely recognizable mainstream version of snark fandom is a roast. Yet roasts are hosted by equals; snark fandom is by fans, perhaps as a way of keeping things real. Also, the Megadeth podcast above (and this fanvid of how Trent spent his money from Ghosts) may imply that snark fandom might be limited to what are viewed generally as traditionally male fandoms.

However, generally viewed as female fandoms have plenty of snark fandom. A great example is  Forever Young Adult, which has been doing an excellent job of snarking on many of the favorite book series of girls — both gothy — V.C. Andrews’ Flowers in the Attic series — and v.v. normal — Sweet Valley High. These posts wouldn’t be possible if there wasn’t enjoyment in reading, remembering, and making fun of.

From the Forever Young Adult review of Flowers in the Attic:

WHAT.  Well, blow me down!  Your mother, who has LOCKED YOU AWAY IN AN ATTIC, might not have been 100% truthful all this time?  What is this world coming to, when we can’t even trust the word of an [] who conspires with her psychotic ultra-fundamentalist mother to lock her four children away for years in an attic??  Great!  Now I find it difficult to believe in anything!  IS SANTA STILL REAL?  AM I STILL REAL??  IS THIS INCEPTION AND I AM JUST A DREAM FIGMENT OF MYSELF?  AND IF SO WHERE IS JOSEPH GORDEN-LEVITT?

From the Forever Young Adult review of Sweet Valley High:

There is no sub-plot!  This is all of the plot!  COCAINE WILL KILL YOU IN YOUR FACE!  Don’t do it!  You could have a heart murmur that no one ever diagnosed before, even though you were born with a handicap and were presumably in and out of doctors’ offices for most of your young life!!  And do you really want your last few moments to be spent on Molly Hecht’s gross couch, asking to talk to Elizabeth Wakefield?  NO.  So stay away from drugs, kids, or you too will TOTALLY DIE.

Snark fandom stands on the other side from obsessive fandom (think Snapewifes or Twimoms), standing firmly in this world, rather than any astral plane. Snark fandom serves as a means to share fandom with others,  yet be reminded that the book, or artist, or whatever, is imperfect and flawed, yet still worthy of interest.

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The Economic (and LOL power) of I Can Has Cheezburger

The New York Times recently had an article on LOLcats, specifically the ICanHasCheezburger site, and I wondered, what took so long? Is it because it seems so … silly? Or is it because the idea of female nerd culture (not to say that those that are not female or nerds don’t enjoy LOLcats, but really) seems like a non-money making venture and thereby uninteresting?

While I’ll be writing a longer review in response to Clay Shirky’s Cognitive Surplus: Creativity and Generosity in a Connected Age, one aspect of the book that really bothered me was the way he seemed so dismissive of ICanHasCheezburger. He calls the process of creating a LOLcat “the stupidest possible creative act” with the “social value of a whoopee cushion and the cultural life span of a mayfly.” He does, however, consider it to be an example of participatory culture — perhaps equal to Cartoon Network.

In an interview on NPR’s Morning Edition, he explains his viewpoint a bit differently, but I wonder how many readers are going to seek out this “explanatory footnote”:

SHIRKY:  But the interesting thing about lolcats, about these cute cats made cuter with the application of cute captions, is that when you see a lolcat, you get a second message which is: You can play this game, too. All right, when you see something on television, the message is: You could not do this, you can only consume this.
There is a giant gulf between doing something and doing nothing. And someone who makes a lolcat and uploads it – even if only to crack their friends up -has already crossed that chasm to doing something. That’s the sea change, and you can see it even with the cute cats.

But one aspect that Shirky does question — and that the New York Times gazes over in amazement (similar to the “weird Japan” newsreporting meme) is that someone is getting paid. But it is the owners of ICanHasCheezburger who are making seven figures (for the entire family of  sites) — not those creating LOLcats, who receive merch for their creative output.

Shirky describes concerns about labor efforts in participatory culture (and thereby fan culture in general):

If ICanHasCheezburger.com, purveyor of lolcats, is a late-model version of the fifteenth-century publishing model, then the fact that its workers are contributing their labor unpaid is not only strange but unfair. But what if the contributors aren’t workers? What if they really are contributors, quite specifically intending their contributions to be acts of sharing rather than production? What happens if their efforts are an effort of love?

We here on The Learned Fangirl have discussed the labor/fan dynamic and are glad that it is being considered within the context of Cognitive Surplus — and will be addressing this issue head on in the followup book review. We’ll be discussing why Shirky not having an answer for his own questions above for both LOLcats and participatory culture is disappointing. At least this half of TLF will!

I read a book: Cognitive Surplus: Creativity and Generosity in a Connected Age

Until recently, Clay Shirky was best known as the author of Here Comes Everybody: The Power of Organizing Without Organizations. The book  was widely praised (seriously, Boing Boing calls it a “masterpiece”) and is still referenced  by social media strategist/expert/guru types as a must-read for anyone looking to explore the social dynamics that drive the use of technology, which at the time (and even now, to a certain extent) is not what drives most conversation about the internet and social media in particular.

Rather than focusing the catalyst of online social behavior on specific technologies  (i.e. what makes Facebook so popular?) Shirky argued that social tools facilitates common group behavior, conversation and social interaction. At the time, the beginning of Facebook’s online dominance and in the midst of growing fascination and panic about social media from the mainstream press. Shirky presented a reasoned, articulate and well-researched argument that the idea of “crowdsourcing” was not a new idea, but actually rooted in common, even traditional social interaction. The Internet just made that interaction happen more widely and more rapidly.

If you talk to any social media/internet  “expert” or “enthusiast” these days, this perspective is seen as common knowledge, but without Shirky’s well-presented theory and research to bolster this theory it wouldn’t have taken root.

In 2010, you’d think that this argument wouldn’t need repeating or clarification, but as traditional media continues to evolve and digital use continues to grow and become more ubiquitous, the panic of social theorists and mainstream media commentators continues unabated. The continuing debate of whether the Internet makes you smarter or more stupid seems to have a new chapter each day, but in Cognitive Surplus, Shirky’s latest book, he does add fuel to that fire, but also offers a modified version of his Here Comes Everybody thesis: The Internet has given us the tools to create, publish and share media  faster, cheaper and with more people than ever before

Shirky’s revised thesis is the reason that I think Cognitive Surplus is a must-read (there’s that term again) for media professionals in every field.

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My name is fangirl; we are legion

Recently, the power of the fangirl has been seen as having potential economic power, especially with the huge opening of New Moon. And regardless of one’s own personal feelings about Twilight , these fans have power in through sheer numbers.

I’m not sure why this is a sudden revelation, but it likely has to do with the more familiar “hiding in plain sight” fangirl of the comics, gaming, sports, music, etc. variety, considering that in *all* of those areas, the stereotypical fan is a dude.

“[Male fans] tare tolerated as “normal people” at Comic-Con while hordes of girl fans [of Twilight] are not.”

Jezebel has an interesting post on this “chicks spend money on entertainment!” phenomenon:

New Moon explodes the myth… that fanboys hold all the power,” Pamela McClintock writes for Variety. … Women buy movie tickets, and we’re interested in great stories with women in the lead roles. And! Fangirls should be taken seriously. As Women & Hollywood’s Melissa Silverstein writes for The Huffington Post:

… I’m not trying to say that all women’s films will be as successful as New Moon because that’s silly. These kinds of movies come along rarely cause Hollywood hardly makes them. But this weekend’s number indicate that they should make more of them.

But not all women like gender-specific (or directed) fandoms — and sometimes girls and women are looking for non-sexist, non-racist material regardless of whether there is female representation (as a edit to the Bechdel rule).

But there are often different ways in which women and girls approach fandom, in economic and other ways:

  • What does the crazy fangirl plotline on Supernatural mean?
  • Why is there a wave of hardcore bands with female-centered names with no female members (Daughters, Baroness)?
  • Why does so much of Genghis Tron merch seem appropriate to decorate the room of a small child?
  • Was the way the Doctor decided what happened to Donna an assault?
  • Which reboot, Star Trek or Sherlock Holmes, better lives up to its slash potential?
  • Is the new Powergirl powerful or sexist? Or both?
  • What is the reason there has not been a mainstream popular girl-focused manga/anime series in the U.S. since Sailor Moon?
  • Will wizard rock and twi-rock find mainstream success, considering nu-goth?

And these types of questions are more important in connecting with female fans as a big opening weekend for one movie in a popular book series because (secret here!), the next girl/women-focused movie isn’t going to do as well.There are still plenty of ways of energizing female fans — but figurine washing laundry and contests to ComicCon that don’t allow female fans just aren’t going to cut it in this brave new fandom world.

 

Our MIT6 Conference Presentation: The Intellectual Property of Remix Culture

After a truly great time presenting about fan culture two years ago at MIT5: Creativity, Ownership, and Collaboration in the Digital Age, we presented at the Massachusetts Institute of Technology’s Media in Transition Conference — this year entitled MIT6: Stone and papyrus, storage and transition (MiT 6). While our conference summary is forthcoming, here is our presentation (originally entitled: The Intellectual Property of User-generated Content), though the full paper will be on the conference website:

Generators of remix culture create communities and content, making the intellectual property of others more valuable, but receive no compensation for their work that increases the value of another’s property, and receive little to no rights in what they have created or added. Our presentation focuses on a particular sub-set of user-generated content: derivative/ transformative works of creativity – such as music videos (or vidding), fan-fiction, fan-zines and websites – though it could be applied to any situation where there is tension between a corporate content owner and its audience about ownership of the “brand” usually due to concerns of degrading market value or anti-piracy.

Pwnage

So what do we mean when we talk about intellectual property? To greatly simplify, we are focusing on copyright and trademark. In the U.S, copyright attaches to works immediately, once a creative, intellectual, scientific, or artistic works is fixed in a tangible form — and exists for life of the creator plus 70 years. The right to create derivative works is given to the creators — but there is fair use that allows others to use copyrighted works. Trademarks are the “branding” imagery plus auxiliary content (Apple brand computers, Apple brand music providing network (iTunes), Apple brand symbol, etc.) — and require registration, can be kept forever, yet need to be protected to be kept. An additional complicating factor are licenses — either for use of specific intellectual property or for use of a platform, such as YouTube.

Henry Jenkins writes in Convergence Culture that

“American intellectual property law has been rewritten to reflect the demands of mass media producers–away from providing economic incentives for individual artists and toward protecting the enormous economic investments made in branded entertainment”

MONEY! MONEY!

Those who are part of participatory culture are often not seeking compensation in traditional ways, yet are not just doing it for the LOLs. Viviana Zelizer discusses the social meaning of money in her same titled book:

“Money [according to some theorists] destroys, necessarily replacing personal bonds with calculative instrumental ties, corrupting cultural meanings with materialistic concerns…. Observers of commercialization in Western countries have thought they saw devastating consequences of money’s irresistible spread: the inexorable homogenation and flattening of social ties.

Money may not be what fans are seeking — instead recognition, credit, etc — but what are likely at the bare minimum to be seeking the ability to continue to participate. And continue to strengthening social ties in multiple ways — to each other, to the work, and to creators/owners.

LESSIG! (done in Khan style)

Laurence Lessig’s recent book, Remix: Making Art and Commerce Thrive in the Hybrid Economy discusses our present situation, includes a lengthy discussion of the economics of two types of culture — commercial and sharing.

A commercial economy [is centered on] money or “price” [as] a central term of the ordinary, or normal exchange.

Of all the possible terms for exchange within a sharing economy, the single term that isn’t appropriate is money.

But Lessig discusses a combination between the commercial economy and the sharing economy — the hybrid economy:

The hybrid is either a commercial entity that aims to leverage value from a sharing economy, or it is a sharing economy that builds a commercial entity to better support its sharing aims.

If those within the sharing economy begin to think of themselves as tools of a commercial economy, they will be less willing to play. If those within a commercial economy begin to think of it as a sharing economy, that may reduce their focus on economic reward.

Much of Lessig’s discussion about hybrid economies is applicable to fan culture and other examples of participatory culture and user-generated content. Therefore, our presentation is about both the successes and failures of hybrid economies and about how in order to get something of value, some measure of control over property needs to be loosened. Commodifying the value added by user-generated content varies greatly depending on who or what is determining the value. culture.

Tiziana Terranova also discusses the role of moral economy that discusses “free labor” found in fan participation:

“Free labor is the moment where this knowledgeable consumption of culture is translated into productive activities that are pleasurably embraced and at the same time often shamelessly exploited….The fruit of collective cultural labor has been not simply appropriated, but voluntarily channeled and controversially structured within capitalist business practices.

Firefly/Serenity (we have this section blogged here)

Harry Potter (we have a longer version of this section here)

Recently, J.K. Rowling won a case preventing the print publication of the Lexicon, a non-licensed encyclopedia of the Harry Potter universe. While barely mentioned during the trial, this case is not just about one book, but concerns the entire Harry Potter fan community.

The Lexicon was created as a online encyclopedia with a large number of fans helping to make the entries accurate. When Vander Ark signed his book deal, completely ignored were the countless fans that contributed and made the website a success. So the lawsuit was fight between the author and the compiler/host of a fan-created work. Yet the fans who have contributed to the Lexicon get neither money nor recognition of their contribution.

The longest mention of fans during the trial was by the publisher:

Q… if you win this case, out of the money that you receive, you don’t plan to give any of it to fans who submitted their work, their time, to submitting information from Ms. Rowling’s book to Mr. Vander Ark’s website, is that right?

Q. You’re going to give back money to the fans, is that what you’re saying?
A. If the book is successful, there’s a lot of possibilities.

Later, the judge said that the issue of fan payment/contribution was irrelevant:

Whether or not the fans contributed … is a side issue.

J.K. Rowling has always been supportive of the fan community surrounding her works, interceding on behalf of fanworks (she is however against fanworks that use underage characters in illegal physical situations). This case has led to a rift in the Harry Potter fan community, with the Leaky Cauldron (the most popular Harry Potter news-site/message-board) cutting all ties to the Lexicon.

A recent New York Times article, Public Provides Giggles; Bloggers Get the Book Deal, discusses how user input to websites, such as I Can Has Cheezburger? (book sold over 100,000 copies), has led to website owners receiving compensation while those that created value receive nothing:

the latest frenzy is over books that take the lazy, Tom Sawyer approach to authorship. The creators come up with a goofy or witty idea, put it up on a simple platform like Twitter and Tumblr, and wait for contributors to provide all of the content. The authors put their energy into publicizing the sites and compiling the best material.

Nowhere mentioned in the article is whether contributors receive recognition or compensation.

Star Wars

Star Wars is often talked about as a positive example — after all, there is a highly active fan community and a fanfilm contest. However, at present, Lucasfilm only allows for and takes control over certain types of fanworks — and zealously goes after those that do not fit their standards, even if those works arguably could be considered to be fair use.

Both Henry Jenkins in Convergence Culture (2006) and Anne Elizabeth Moore in Unmarketable: Brandalism, Copyfighting, Mocketing, and the Erosion of Integrity (2007) quote the same Lucasfilm exec, who said in the New York Times in 2002:

“We’ve been very clear all along where we draw the line. We love our fans. We want them to have fun. But if in fact somebody is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.”

Moore describes the control Lucasfilm expects over the fandom as

It is an idealized brand environment that prohibits any potential negative, critical, or neutral comment.
…The Lucasfilm IP strategy, therefore, might read something like this: imitation is the sincerest, and only allowable, form of flatterry. Yet in practice, this narrow definition of fandom, while encouraging freedoms of certain speech, actively discourages others …[and] even punishes them. The strategy begins to look like a legally enforced suspension of critical engagement.”

Lessig says

A careful reading of Lucasfilm’s terms of use show that in exchange for the right to remix Lucasfilm’s creativity, the remixer has to give up all rights to what he produces. In particular, the remixer grants to Lucasfilm the “exclusive right” to the remix — including any commercial rights — for free. To any content the remixer uploads to the site, he grants to Lucasfilm a perpetual non-exclusive right, again including commercial rights and again for free.

The remixer is allowed to work, but the product of his work is not his. Put in terms appropriately (for Hollywood) over the top: The remixer becomes the sharecropper of the digital age.

Lucas is of course free, subject to “fair use,” to do whatever he wants with his creative work. The law of copyright grants him an exclusive right to “derivatives”; a remix is plainly a derivative. And it’s true that no one is forcing anyone to make a remix for free.

Nine Inch Nails (we have a shorter version of this section here)

Conversely, the band Nine Inch Nails and the musician behind it, Trent Reznor, has in recent years spearheaded novel approaches to user generated content that allows a symbiotic/collaborative relationship with fans and their work. It closely represents both the fundamental mindset of Open Source developer communities (distributed ownership) as well as adopting a model very similar to to the curious copyright culture in Japan, anmoku no ryokai, that allows derivative manga to be sold alongside their corporate-owned source. This approach won’t work for every corporate owner/creator, and it’s certainly not the only one, but it’s at least one current example of a hybrid.

NIN’s fanbase have had a traditional unusually interactive relationship with each other and with the band, serving as self-selected ambassadors and archivists for both official releases of the band and NIN fanworks:

NIN Historian: started in 2002, a fan run website that has documented memorabilia from live NIN shows from the bands inception.

NIN Remixes.com: an archive of fan-created remixes of Nine Inch Nails songs, which allows indivuals to upload their own work, and existed before Trent Reznor allowed his post – Interscope work to be distributed under a Creative Commons license. Remix.nin.com , started two years ago and exists alongside ninremixes.com, the fan run site that has existed for over 5 years. Universal Music group halted the launch of the “official” site

Year Zero ARG: As part of the Alternate Reality Game that accompanied YZ, three of the tracks were made available on flash drives ata couple of NIN shows. When the tracks were leaked on the internet, RIAA cracked down on the fans leaked tracks and remixes, even though the ARG campaign was officially condoned by Universal Music Group.

From Billboard:

“An RIAA representative confirms this, a move that boggles the minds of many. “These f*cking idiots are going after a campaign that the label signed off on,” the source says.”

Since the Creative Commons blog has already put together links:

First, there’s the critical acclaim and two Grammy nominations, which testify to the work’s strength as a musical piece. But what has got us really excited is how well the album has done with music fans. Aside from generating over $1.6 million in revenue for NIN in its first week and hitting #1 on Billboard’s Electronic charts, Last.fm has the album ranked as the 4th-most-listened to album of the year, with over 5,222,525 scrobbles.

Even more exciting, however, is that Ghosts I-IV is ranked the best selling MP3 album of 2008 on Amazon’s MP3 store.

The post (mirrored on Laurence Lessig) has an explanation for this:

So why would fans bother buying files that were identical to the ones on the file sharing networks? One explanation is the convenience and ease of use of NIN and Amazon’s MP3 stores. But another is that fans understood that purchasing MP3s would directly support the music and career of a musician they liked. The next time someone tries to convince you that releasing music under CC will cannibalize digital sales, remember that Ghosts I-IV broke that rule…

In The Economic Structure of Intellectual Property Law Posner and Landes state that

“When several artists contribute to creating an integrated expressive work, it is efficient to vest copyright in one person [or company] and who better than the initiator and coordinator of the project?”

Posner and Landes continue

… [I]f a work is offered as a substitute for another work, then it takes away sales from the copied work. If the work is offered as criticism, it may take away sales too, but not by virtue of the copying– by virtue of the criticism, which should be permitted.”

The Ghosts example is certainly an argument against that statement. Recently, NIN went a step further in extending creative control to fans by “discovering” 400GB of high definition concert video footage online and inviting fans to create their own video projects.

There’s a bit of history behind this: after learning that a home video release of the most recent tour NIN was not in the cards (long story behind that, but at least according to Reznor, it was due in part to his former record label roadblocking him), some disappointed fans took it upon themselves to organize an online community to create a fan-produced video of the last show of the tour. From fan website http://thisoneisonus.org:

On 5th May, 2008, Nine Inch Nails released their latest album, The Slip, free online, as a gift to their fans. Or as Trent put it: “This one’s on me”.

On December 13th, 2008, dozens of Nine Inch Nails fans recorded the last show in the Lights In The Sky tour at Planet Hollywood, Las Vegas:

By working together, we aim to create a DVD to document this show that will be released free online, and possibly as a not-for-profit physical release. This one, is on us. Our time. Our effort. Our present to all NIN fans.

This was all with the indirect “blessing” of Reznor, who even before the video leak, loosened up the video security at the the show, allowing fans to record their own footage. Now to be sure, artists condoning and supporting fan video isn’t entirely a new concept either: back in ‘04, the Beastie Boys gave video cameras to fans and released an entire feature concert film of fan-shot video. And long before they became Public Enemy number 1 to grassroots fan activity, Metallica released a video, Cliff ‘em All, that featured some fan-made video record during their early years. But providing what is essentially a DVD’s worth of video footage for fans to play with is notable: it’s a gesture that embraces the open source/Creative Commons approach to fan-works and fair use that presumes a kind of perceived collective ownership of property. (A court would argue whether the derivative works of remixes and fan videos belong to Reznor or the fans, but there’s cultural perception within that particular community that the footage is owned collectively the fan community at large.)

Each party receives compensation from this sharing economy: NIN gets to leverage the enthusiasm of fans, who are willing to invest time and money to serve as free marketing ambassadors for the band, while fans recieve a product to consume free-of-charge.

Conclusion

We’re at a point now where more content/owners creators depending on social media/viral and word of mouth marketing to extend their reach and fans using technology and media tools to create increasingly sophisticated derivative works that conflate the role of media producer/consumer/owner/ambassador. Now, we’re seeing those worlds bump into each other. Current copyright law and culture hasn’t yet caught up to these advances in technology and culture. Pat Aufderheide mentioned at her presentation at MIT6 about a 20th century mindset to fair use being carried over into 21st century practice, and I think that’s what we are seeing here.There’s room here for scholars and practitioners to identify these “best (and worst) practices” of this hybrid economy model to replicate and to guide policy decisions, with more companies at least exploring the possibilities of adopting an approach that allows for a safe haven for fans/brand supporters/etc. to create content that would benefits all parties, and also allow users to edcate themselves on their own rights and responsibilities as media producers in this public sphere.

Laurence Lessig says that:

“there is a deep divide between those who believe that obsessive control is the hybrid’s path to profit … It is for the privilege of getting to remix … that these new creators are told they must waive any rights of their own. They should be happy with whatever they get (especially as most of them are probably “pirates” anyway).

A decade from now, [a controlling] Vaderesque [approach to remix culture] will look as silly as the advice lawyers gave the recording industry a decade ago. New entrants, not as obsessed with total control, will generate radically more successful remix markets. The people who spend hundreds of hours creating this new work will flock to places and companies where their integrity as creators is respected. As every revolution in democratizing technologies since the beginning of time has demonstrated, victory goes to those who embrace with respect the new creators….Businesses will have to think carefully about which terms will excite the masses to work for them for free. Competition will help define these terms. But if one more lawyer protected from the market may be permitted a prediction, I suggest sharecropping will not survive long as a successful strategy for the remixer.

Blogging May Not Be Dead But Live Journal Could Be

alivejournal2Uh-oh. According to Mashable, LiveJournal, of blogging’s old warhorses, is in some big financial trouble:

The company has reportedly laid off 20 of 28 employees, “leaving only a handful of finance and operations workers.”

As the Mashable article implies, MySpace and Facebook currently dominate when it comes to social media, and personal blogging is on the wane, for the most part. Most non-fandom oriented bloggers I know abandoned LJ for Blogger or TypePad years ago.

I joined LJ back in 1999-2000, mostly to follow specific fan communities that made a home there at the time, but even then I did my personal blogging on Blogger, and only kept up my LJ account to follow “Friends Only” accounts and communities like Oh No They Didn’t or Fandom Wank, when it was housed there. But blogging – and fandom activity – has certainly changed, much as it did when many e-mail discussion groups were abandoned for LJ in the early ’00’s.

LJ’s impending demise has been a long time in coming, I believe, considering the steady account erosion that started several years ago, and it certainly may have some correlation to the fans that abandoned LJ in the wake of “Strikethough/Boldthrough”, the primarily fan-community driven backlash was spurred by LiveJournal’s parent company, Six Apart, suspending user accounts deemed sexually explicit or “harmful to children.” Since a lot of fan-fiction writing communities (particularly the Harry Potter fanfic writers) were among the few that remained on LJ after the blogging masses moved on, Strikethrough was kind of the death knell for LJ, when those communities eventually moved on to open-source alternatives like GreatestJournal, insanejournal, JournalFen, etc., especially after Six Apart sold LJ to Russian software company SUP.

There’s a lot of contention about Six Apart/SUP and how the companies dealt with some of their most dedicated consumers – fangirls, for the most part. But regardless of that, with the fluid migration of social media audiences and fan communities being a constant, I think the eventual decline of LJ was inevitable.

From Geisha to Go Go: Book Review of two recent books on Asian women

While no book can fully explore a culture, two recent books, Sheridan Prasso’s The Asian Mystique: Dragon Ladies, Geisha Girls, & Our Fantasies of the Exotic Orient and Veronica Chambers’ Kickboxing Geishas: How Modern Japanese Women Are Changing Their Nation, give a window into how different the lives of Asian women are from the pop culture stereotypes.

Interestingly, both books are written by Western female journalists that are not of Asian descent. Also, both are written primarily around interviews with individual women, using their experiences to explore larger social phenomena. Both books touch upon fandom issues, but this is not their primary focus.

The most valuable aspect of The Asian Mystique from a pop culture studies perspective is a multiple chapter analysis of stereotypes used in Western media of Asians and Asian-Americans. Prasso discusses how media stereotypes are based in a binary dichotomy in two ways — first, the stereotypes vary based on gender, and second, Asian women are seen as either submissive and desirable (“China Doll”/Vixen) or as dominant and therefore to be feared (“Dragon Lady”). This section would be perfect for a film/television or ethnic studies class.

Kickboxing Geishas does discuss Japanese female fashion, including Harajuku, Lolita, and Gothic Lolita. (Interestingly, though Chambers is an African-American woman, she never mentions the racialized aspects of yamamba in her discussion of this fashion/social trend).

Kickboxing Geishas also discusses the economic and social impact of teenage girls and their style:

Joshi kosei [teenage girls] are voracious shoppers with a quirky eye for fashion and an uncanny ability to start trends.’

Although there are broad groupings among …Japan’s contemporary costume culture …– kawaii, or the culture of cuteness; gothic; Lolita, etc. — the young women (and some men) who embody these street styles thrive on their individuality. …I believe the costuming of today’s Japanese young women reveals, in a powerful way, how for many young Japanese females, Japan is a hard place to become a grown woman.

[Yasuko Nakamura] recently published a book, The Uchira and Osoro Generation: Unadorned High School Girls of Tokyo. The Uchira in the title refers to the way Shibuya’s masses of teenage girls like to refer to themselves–a posse called “us.” Osoro is short for osoroi meaning that the girls like to dress the same. Currently eight thousand of these girls are on [her company’s] payroll [;] companies rely on her and her teen experts to help develop products such as soft drinks and cosmetics.

The Asian Mystique mentions “ladies comics”/manga and their role as peer sex education:

Unlike in the West where [teen] girls pass around steamy romance novels between friends [Peyton Place to V.C. Andrews to Twilight] or watch teen dating shows [90201 of yore and now], Japanese girls read [explicit] manga.

One of the most interesting side notes in Kickboxing Geishas involves Bizet’s Carmen, which has been reinterpreted once again, this time in a Japanese ballet where the action takes place within a Japanese business where Carmen is an “office lady” (secretary/tea server) and Jose is the corporation’s security guard. (Someone should write a book on the incredible resonance of Carmen cross-culturally!)

Both books have so much more than is truly in the scope of this blog, with analysis of the real world day-to-day sexism that women face. The Asian Mystique is especially recommended for its in-depth analysis of many issues, including the sex industry throughout Asia.