This study critically examines the subculture of the jamband scene, particularly that of the band Phish, through the notion of “white space.” We demonstrate the existence of colorblind racism and denial of white privilege in the white space of Phish subculture, which is also emblematic of the jamband subculture at large. This study utilizes content analysis drawing from social media comments that react to an article written by Headcount, a political organization in the jamband subculture, titled “Phish Scene is So White: Let's Talk.” The most salient themes we found were colorblind racism and particular online forms of colorblind racetalk through emotional deflection and sarcasm—that we term NIMBY. Our findings add to our understanding of how colorblind racism operates in online versions of subcultural white spaces. We conclude by considering the importance of sociologists to urgently map the social and cultural contours by which white spaces are (re)produced, particularly through cultural processes of meaning‐making.

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This article focuses on processes of meaning making in White spaces as the glue that holds their social structures together. Understanding White spaces and how they operate necessitates theoretical development from a cultural perspective. The authors’ research empirically engages with a wide range of White spaces—neighborhoods, subcultural scenes, craft breweries, online digital platforms, and academia, to name a few—and do so from a theoretical space where the two areas of sociology meet: race and culture. We engage with three key questions to theorize the culture of White space: (a) How do these White spaces work? (b) How are these White spaces challenged? (c) How do these White spaces change and/or reproduce themselves? From these engagements, this article develops a general approach to understanding White spaces through understanding their racialized processes of meaning making.

In this study, we explore the recognition of publicness as understood by everyday users of public space. By analyzing news articles in South Korea selected from 1 January 2010, to 31 December 2018, this study examines a discourse which is largely missing in the existing studies-the subjective experience and framing of contemporary spatial publicness by its end-users. After analyzing the contents from a total of 583 articles in the KINDS database, we develop a general typology of how contemporary spatial publicness is represented in South Korea. Although the scope and background of questions surrounding South Korea's recognition of contemporary spatial publicness are different from that of Western countries, a similar debate has emerged about what publicness means in the context of the architecture and urban space around the globe. By developing different thematic dimensions in the representations of contemporary spatial publicness, we further discuss the implications for future research to examine the pragmatic sensibilities of individuals and utility of semi-public/private space.