Female Pressure: A translocal feminist youth-oriented cultural network

Gear Acquisition Syndrome: Consumption of Instruments and Technology in Popular Music

“…Prestigious roles have shifted, leaving space for women to slowly enter the formerly male-dominated positions such as the drums or lead guitar. But also in other currently commercially more successful musical scenes, such as electronic dance music cultures and DJing with their strong focus on 'competence in the latest music production equipment and software' (Gavanas & Reitsamer 2013: 55), power structures are increasingly questioned, as recent publications demonstrate (for example , Farrugia 2012;Farrugia & Olszanowski 2017;Gavanas & Reitsamer 2013;Hancock 2017;Reitsamer 2012). Farrugia (2012: 30) describes how record shops as the places of collecting and acquiring records supported power structures in the Foucauldian sense for a long time, thus supporting a gatekeeping process that excluded women from DJing:…”

“…Unsurprisingly, similar approaches are also expanding into the digital realm. With a focus on the EDM scene, Reitsamer (2012) describes the translocal virtual network Female Pressure, founded in 1998, in which female DJs, music producers and club managers of all ages and different origins exchange and organise themselves in mailing lists and social media platforms. While a central concern of the network is the pursuit of a feminist agenda in the sense of third-wave feminism, it also enables the exchange of experiences on the practical aspects of DJing and thus represents a valuable resource for the acquisition of expertise as well as discussion of music technology by female DJs: 'Being part of a localized network gives female DJs the opportunity to receive support from colleagues in invaluable ways, such as getting advice on skills and technology, and opportunities to play for an audience' (Reitsamer 2012: 80).…”

Being and Performing "Older" Woman in Electronic Dance Movement Culture

“…While Gregory's article introduces the issue of gender and age in the context of clubbing, it focusses on the past experiences of women who have since given up raving and their reasons for doing so. While there is a general shift in the literature that challenges the marginalisation of women in relation to EDM production (see Farrugia 2012, Reitsamer 2012or Farrugia and Olszanowksi 2017, age is still very much absent from the discourse and female aging entirely invisible. As Pini argues, much of the early literature on rave culture tends to eradicate distinctive identities with ravers being written about as essentially sexless, ageless and raceless.…”

Feminist Media Production in Europe: A Research Report

“…According to Genz and Brabon (2009) third wave feminism situates itself in the field of popular culture and continues to understand a critical engagement with pop culture as a component of political struggle. Feminist youth (sub)cultures and networks, such as riot grrrl, began using the internet for networking, organising local music events and producing websites, e-zines and blogs; such networks are generally considered an expression of third wave feminism (Reitsamer 2012). In the course of her investigation of riot grrrl in the United States, Garrison (2000) argues that the use of new media technologies for communication, cultural production and political activism, as well networking between women of different age cohorts are defining features of third wave feminism.…”

“…For Genz and Brabon a "politics of ambiguity" allenges the identity politics and the anti-popular and anti-feminine agenda of second wave feminism and so, they argue, it is one of the aracteristics of third wave feminism. The bloggers of Mäd enmanns a adopt some of the manners of third wave feminism, but they have not discarded the discourses of the second wave (for a discussion of further examples see Reitsamer 2012). They strongly locate themselves in the field of popular culture and understand themselves as powerful young actors who make feminism "more beautiful".…”