Written by 
Fangirls: Scenes from Modern Music Culture – Hannah Ewens
Genre: Nonfiction – Music, Society & Culture
Publisher: Quadrille Publishing Ltd
Release Date: Jan 1, 2020
Format read: Physical (paperback)
Source of book: This book was acquired independently by the Reviewer.
My Thoughts
As a music fan myself, I find broader conversations about music fandom interesting. This I what led to conduct this Fangirls Book Review. One thing I’m hyper-aware of is the general trends that exist between male and female music fans. Note I say “trends” – there are no hard and fast rules being laid here. But anyone with eyes can tell that in general, male music fans engage in certain behaivours and communities. Ditto, female music fans in general engage in their own rituals and habits. This book focuses on the latter, and how female music fans display their enthusiasm for pop and rock music specifically.
Each chapter is a new case study on a certain group of fans, with a new angle on fandom. But, as to be expected there are recurring threads that pop up again and again, and the biggest thread is undoubtedly passion. Dedicated female fans have a vocal and intense passion for their favourite artists and bands, which inspires unusual activities and entire sub-communities of their own.
Content & Information
I appreciate the attempt to gather a diverse range of fan groups. Amy Winehouse was an unexpected inclusion for me (I missed the hype). The 21st-century usual pop suspects – One Direction, Beyonce, and Lady Gaga – are obviously present.
20th-century acts such as The Beatles and Hole are included as well. I like this, as it shows that the fandom behaviour displayed is not a sudden modern phenomenon.
Of particular note were references to fandoms I had direct exposure to in my youth. These were My Chemical Romance and Fall Out Boy. I was a Tumblr teen in the 2010s and a fan of both bands. While the “emo crisis” caused by MCR fans was slightly before my time, I still recogise the type of person. The same “emo”-type teens existed well into the 2010s, and continued to engage in mental health topics heavily.
In regards to Fall Out Boy, I now present my hot take for this review: I don’t consider Patrick Stump attractive at all. I don’t understand the thirsty fangirls. I severely disagree with the statement made in Fangirls that Stump is some universally attractive heartthrob. Wasn’t into him as a teen, and I’m still not now.
Interestingly Jpop is referenced but not Kpop, but I suspect that is because of the date of writing. [Note: I believe that the correct terms should really be Japanese idol music and Korean idol music. But the general public has gotten stuck into Jpop and Kpop as terms so I will concede.] Had the book been a few years later Kpop would’ve likely made an appearance. There are some baseline similarities between the Japanese and Korean idol culture, but also some distinct cultural differences. There’s material for a follow-up to this work if the author was so inclined. This has been suggested in other Fangirls reviews.
There is a great case proven that female music fandom is unique and interesting, in its own way. There’s also a case made that the obsessive aspects are often heightened in these female-only environments.
What’s missing, I think, is an investigation on the question of why female fans are like this? I am geniunely interested. What is in the biological nature of women that leads them to this? What drives passionate or obsessive fandom in women specifically? Within this I feel like is a fascinating insight into the female self, and what differentiates females as different from males.
Writing
As a journalistic piece, Fangirls consists mostly of observations from attending fan events and interviews with fans. For a topic so personal and human, I think this approach makes some sense. At its best, Fangirls is a time capsule. A collection of observations and anecdotes from various different fandoms, across time.
There isn’t much analysis across these anecdotes, but I think the similarities are there for readers to decode. For example, the fans in the Jpop chapter who go to the special merch stores to get exclusive photos of their idols. To me, this links to the Lady Gaga fans who wistfully discuss about getting to see her up close, or to touch her. In both cases, there is a desire for a personal connection, even if it’s just a taste of it.
A recurring theme is the treatment of fangirls by broader society. I think this is where Ewens’ personal experience as a fan affects her perspective. Fangirls have often experienced being mocked or criticised for their interests. This is shown from the media panic over emo fans to the documentary on One Direction fans. Fangirls feel persecuted or sidelined.
Therefore there is a bit of a protective element in how Ewens presents the girls. She wants them to triumph and obtain their due credit. But I think that her drive to correct the public record, while understandable, is misguided.
Therefore, while I really appreciate the perspectives shared here there is one thing that determines the overall rating of my Fangirls book review. And that is the lack of an outside perspective. I appreciate that there is such a personal take on it, but I think it could have been even better. Adding a broader analysis of women and girls in culture, or how they engage with it, would’ve connected the stories in Fangirls to each other. It also would’ve solidified the core themes that are hiding between the pages.
TL;DR: An interesting, personal take on female music fans. Relatable for fangirls, and a curious insight for those on the outside.
Rating: 3 out of 5 stars
Learn more about Crokes’ rating system.