Emo: How Fans Defined a Subculture, Judith Fathallah (2020)

References

1. Atkinson, W. (2011), ‘The context and genesis of musical tastes: Omnivorousness debunked, Bourdieu buttressed’, Poetics, 39:3, pp. 169–86.
   [Google Scholar]
2. Bourdieu, P. (1984), ‘Distinction’, in A Social Critique of the Judgement of Taste, London: Routledge and Kegan Paul, pp. 13–19.
   [Google Scholar]
3. Bryson, B. (1996), ‘“Anything but heavy metal”: Symbolic exclusion and musical dislikes’, American Sociological Review, 61:5, pp. 884–99.
   [Google Scholar]
4. Chan, T. W. and Goldthorpe, J. (2007), ‘Social stratification and cultural consumption: Music in England’, European Sociological Review, 23:1, pp. 1–19.
   [Google Scholar]
5. De Kosnik, A. (2012), ‘Fandom as free labor’, in T. Scholz (ed.), Digital Labor: The Internet as Playground and Factory, New York: Routledge, pp. 98–111.
   [Google Scholar]
6. Peterson, R. and Kern, R. (1996), ‘Changing highbrow taste: From snob to omnivore’, American Sociological Review, 61:5, pp. 900–07.
   [Google Scholar]
7. Peterson, R. and Simkus, A. (1992), ‘How musical tastes mark occupational status groups’, in M. Lamont and M. Fournier (eds), Cultivating Differences, Chicago, IL: University of Chicago Press, pp. 152–86.
   [Google Scholar]
8. Warde, A., Wright, D. and Gayo-Cal, M. (2007), ‘Understanding cultural omnivorousness: Or, the myth of the cultural omnivore’, Cultural Sociology, 1:2, pp. 143–64.
   [Google Scholar]
9. Wipperfürth, A. (2006), Brand Hijack: Marketing without Marketing, New York: Portfolio Trade.
   [Google Scholar]