Hannah Ewens

“We’re in a time now where, more than ever, girls and young queer people create modern mainstream music and fan cultures with their outlooks and actions. They’re the ones at the helm of fan practices that the public have a vague awareness of: tweeting their favourite artist incessantly, writing fan fiction, religiously updating devoted social media profiles, buying ‘meet-and-greet’ tickets and following the band around to various show dates. This is slowly being acknowledged, in part for the money it generates for a changing music industry, and in part because of the ‘women in music’ literature that has been published in the 2010s.”
― Hannah Ewens, Fangirls

“To be a serious fan is to be in a relationship with distance. Just like the act of waiting, engaging with distance is a Sisyphean task. Each act of fandom is an attempt to bridge some gap, to obliterate or quietly dissolve the space with wanting, caring, knowing. Sometimes we’re content with distance, there’s a respect for it and the contractual understanding between us and our object that’s borne from it. Sometimes we might resent it, but we can’t forget it: that’s the deal. The type of closeness and distance we have depends on the artist we choose–or are compelled–to follow.”
― Hannah Ewens, Fangirls