Whip out your tie-dye t-shit and skull-patterned socks, because it’s time to talk about the Grateful Dead. Or, rather, their die-hard, multigenerational, technologically proficient fanbase, the Deadheads. Born from the jug bands and acid test shows of 1960s San Francisco, the Grateful Dead took the world by storm with their experimental, long-form jam sessions that, for over five decades, drew legions of young hippies from across the country to experience (with the help of some very strong psychedelics) the pure sonic bliss of a Dead show. But, like laced PCP, nothing can be pure forever. And when your fanbase now comprises of the likes of Nancy Pelosi, Andy Cohen, and Anne Coulter, and your band is now helmed by indie demon John Mayer, you’ve gotta wonder… what went wrong? In this episode, Hannah and Maia are joined by Hannah’s father and former Deadhead, Patrick Raine, to discuss the legacy of the Deadheads, their spirited (or spiritual) online presence, and the dangers of a band outsized by its fanbase. Tangents include: Hannah’s terrible texting abilities, a lively discussion about downtown Toronto’s “The Well”, and Hannah’s dad’s love for the hit Bravo reality show, Below Deck. 

Get a whole month of great cinema FREE: mubi.com/rehash

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

Weebs… and the people who hate them. Japan has always had a distinctive relationship with the West. But ever since it broke out on the global stage with its “gross national cool” - distributing an array of films, shows, video games, and toys the world over, Westerners have taken on a particular fascination with the country. To the point that an entire Western subculture has formed around an interest… or rather obsession, with all things Japanese. In this episode, Hannah and Maia track how the weeb was born - from the radical DIY origins of manga and otaku, to the fedora-wearing white Redditors of today who hump h*ntai body pillows. But the question remains: Is a weeb a person who simply attends anime conventions and enjoys a vast knowledge of Japan, or a gooner with a Japan fetish? OR does this binary really exist at all? Listen to find out. 

Get a whole month of great cinema FREE: mubi.com/rehash

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

SOURCES:

Anne Allison, “The Japan Fad in Global Youth Culture and Millennial Capitalism,” Mechademia. 1, Emerging worlds of anime and manga, (2006).

Hannah Ewens, We Asked J-Culture Fans to Defend Being ‘Weeaboos’” Vice (2017).

Fandom Unbound: Otaku Culture in a Connected World, ed. Mizuko Ito and Daisuke Okabe, Yale University Press (2012).

Sharon Kinsella, “Japanese Subculture in the 1990s: Otaku and the Amateur Manga Movement,” The Journal of Japanese Studies, Vol. 24, No. 2 (1998).

Andrew Leonard, “Heads Up, Mickey,” Wired (1995).

Susan Napier, “The World of Anime Fandom in America” Mechademia: Second Arc, Vol. 1, (2006).

Joseph Tobin, Pikachu's Global Adventure: The Rise and Fall of Pokemon, Duke University Press (2004).

Theresa Winge, “Costuming the Imagination: Origins of Anime and Manga Cosplay,” Mechademia: Second Arc, Vol. 1, Emerging Worlds of Anime and Manga (2006).

Ever since Serial burst onto the scene back in 2015 , it birthed not only the world of podcasting itself, but an entire cottage industry of true crime podcasts, each one more ethically dubious than the last. But one such podcast may be, at least by title, the very worst: My Favorite Murder. This wildly popular series has been criticized over the years for its flippant water-cooler recounting of people’s real life traumas. And while My Favorite Murder made efforts to correct some of its wrongs, it has facilitated an avid online fandom called Murderinos, comprised mostly of self-proclaimed mentally ill girlies who have grown so prominent on the internet as to embody their own subculture. In this episode, Hannah and Maia discuss the bizarre formation of this alt-girl army, question arbitrary lines drawn in the true crime sand, and ponder whether shame is sometimes a good thing. Tangents include: Hannah and Maia undergoing public couple’s therapy, and Hannah’s coining of the term “shame-negative’. 

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

If you never made your FB profile picture that “I made you a cookie, but I eated it :(“ meme in 2008, were you even living? In this episode, Hannah and Maia recall the long lost emo subculture - which took the world by storm in the mid aughts and fell quickly into obscurity thereafter. Emo emerged as a musical non-genre from the DIY hardcore punk scenes of San Fran and Detroit, and two decades later  it would transform into completely unrecognizable pop punk radio hits resounding in every mall you ever walked into. But thanks to the no-holds-barred, cost-effective utopias that were MySpace and LiveJournal, it seemed the emo subculture was stronger than ever - as socially-anxious teens bonded over their love for Pete Wentz and their own self-loathing. What could possibly go wrong? Are subcultures a form of teenage sovereignty? And do we have Twilight because of 9/11? Listen, for these pressing questions and more. Tangents include: Hannah’s parents’ perfect marriage, Orson Welles vs. Woody Allen beef, and Maia’s online relationship with Gerard Way. 

Get a whole month of great cinema FREE: mubi.com/rehash

Support us on Patreon and get juicy bonus content:

⁠⁠https://www.patreon.com/rehashpodcast⁠⁠

Intro and outro song by our talented friend Ian Mills:

⁠⁠https://linktr.ee/ianmillsmusic

SOURCES:

Peter C. Baker, “When Emo Conquered the Mainstream” New Yorker (2023).

Tom Connick, “The beginner’s guide to the evolution of emo” NME (2018).

M. Douglas Daschuk, “Messageboard Confessional: Online Discourse and the Production of the "Emo Kid"” Berkeley Journal of Sociology, Vol. 54, Knowledge Production and Expertise (2010).

Judith May Fathallah, Emo: How Fans Defined a Subculture, University of Iowa Press (2020).

Andy Greenwald, Nothing Feels Good: Punk Rock, Teenagers, and Emo, St. Martin’s Publishing (2003).

Rosemary Overell, “Emo online: networks of sociality/networks of exclusion,” Perfect Beat (2011).

Dan Ozzi, Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore, Mariner (2021).

Carla Zdanow and Bianca Wright, The Representation of Self Injury and S*icide on Emo Social Networking Groups” African Sociological Review, Vol. 16, No. 2 (2012).

Ever heard of the Disney theme park for adults called “Pleasure Island”? No? Well now you have - sorry! Disney has always been understood as a company for children. But Pleasure Island closed in 2003, and people are having babies later and later (if ever at all), and so now the Disney theme parks have become a veritable playground for a whole new group of fans: grown ups. In this episode, Hannah and Maia talk about Disney adults - their malignment by the general public, their strange religiosity, and their unabashed love of a conglomerate that routinely tramples on the rights of its workers. But, after all, Disney was designed to be a a nostalgic teet from which lost adult souls may suck. So why is it that when adults like Disney, we hate them for it? Tangents include: Hannah’s dm correspondence with Deux Moi, and Maia’s millennial rights advocacy. 

Get a whole month of great cinema FREE: mubi.com/rehash

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

SOURCES:

Johnny Oleksinski, “Sorry, childless millennials going to Disney World is weird.” The New York Post.

Zach Gass, “Pleasure Island: The Origins of Disney’s Nightlife” Inside The Magic.

Michael Sorkin, “See You in Disneyland” Design Quarterly  (1992).

Sarah Marshall, “The Magic Kingdom: The dark side of the Disney dream” The Baffler (2019).

Xavier Guillaume Singh, “Becoming A ‘Disney Adult’ Might Be Cringe, But It Saved My Life” Huffington Post (2023).

EJ Dickson, “How ‘Disney Adults’ Became The Most Hated Group On The Internet” Rolling Stone (2022).

Jodi Eichler-Levine, “Don’t judge Disney adults. Try to understand them.” NBC (2022).

Hannah Sampson, “Childless millennials are passionately defending their Disney fandom” The Washington Post (2019).

K.J. Yossman, “Confessions of Disney Adults: Mouse House Superhans Talk Splurging on Merch, Keeping Execs in Check” Variety  (2023).

Todd Martens, “In defense of Disney adults” Los Angeles Times  (2024).

Amelia Tate, “The ‘Disney adult’ industrial complex” The New Statesman  (2024).

Lia Picard, “It’s Not Enough to Love Disney. They Want to Live Disney” The New York Times  (2023).

Savannah Martin, “We interviewed the genius girl behind DisneyBound - and she’s just as magical as you’d expect” Hello Giggles (2015).

“Grandma, would you tell us that old adage again?” “Yes dears. A long time ago, your ancestors used to say: if all the computers in the world shut down, it’s because the furries logged off for a day.” In this season 6 premiere, Hannah and Maia chat about the most maligned subculture on the internet: furries - a group of people with an above-average interest in anthropomorphic creatures, who everyone seems to despise. Thanks to some unflattering depictions in popular media like CSI and the Tyra Show, the world believes furries to be a group of maladjusted sexual deviants. But have furries gotten a bad rap? Is it really sexual deviancy, or a post-humanist movement that has been way ahead of us this whole time? We may very well be f*cking with the wrong group of people (after all, they created their own ISP before the White House did). Tangents include: the emotional power of Aquamarine, Tyra teaching Hannah about Islamophobia, and the Kyle Jenner-ification of My Little Pony.

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

SOURCES:

Jessica Ruth Austin, Fan Identities in the Furry Fandom, Bloomsbury (2021).

Eliza Graves-Browne, ​”What It Means to Be Otherkin” Vice (2016).

Daisy Jones, “How furries became the most misunderstood fandom in the UK” Dazed.

Joseph P. Laycock, ““We Are Spirits of Another Sort”: Ontological Rebellion and Religious Dimensions of the Otherkin Community”  Nova Religio: The Journal of Alternative and Emergent Religions , Vol. 15, No. 3 (2012).

Dylan Reeve, “Who runs the internet? Furries” The Spinoff (2022).

Venetia Laura Delano Robertson, “The Beast Within: Anthrozoomorphic Identity and Alternative Spirituality in the Online Therianthropy Movement”  Nova Religio: The Journal of Alternative and Emergent Religions , Vol. 16, No. 3 (2013).

Joe Strike, Furry Nation: The True Story of America's Most Misunderstood Subculture, Cleis Press (2017).

Allison Tierney, “Furries Tell Us How They Figured Out They Were Furries” Vice (2017).

Ariel Zibler, “The Furred Reich! Furry annual convention cancelled amid community's bitter divisions over rise of alleged neo-Nazi Mr 'Foxler' and the 'altfur' movement” Daily Mail (2017).

"She knows what she's doing". In this special release of a 2023 bonus episode, Hannah and Maia discuss the elusive "e-Girl" and how, beyond the blushed nose, winged liner, choker, and multi-coloured hair - we have no clue what the e-Girl is all about. We do know one thing though - her online presence is a precarious one. From the ill-defined youth aesthetic, to Belle Delphine's bathwater, it seems the e-Girl exists online as a fantasy object for men, regardless of her age. And after the tragic murder of Bianca Devins in 2019, we ask the perennial question of whether women truly have "sexual agency" if their role is still that of subject rather than viewer. Is the e-Girl an exciting aesthetic to define a generation, or a cautionary tale about women's existence on the internet?

This episode is a special preview for season 6: internet subcultures. Stay tuned for more!

More bonus episodes like this can be found on the Rehash patreon:

https://www.patreon.com/c/rehashpodcast

Once upon a time, there was a place you could go on the internet to buy all the strangest fruits that fashion’s best and brightest had to offer. Now, you’re more likely to hit it when you decide to become the billionth person in the world to own a pair of sambas. That place is SSENSE - the luxury e-commerce mega retailer based out of Montreal, which houses every fashion brand from Canada Goose to Issey Miyake, and employs just about the entire 20-something anglo population of Montreal. SSENSE has become an undeniable powerhouse in the world of luxury e-commerce, carving a name for itself with an unorthodox business model that fuses fashion and technology. But can a company which has been called “the Amazon of high fashion” really be the bastion of the arts that it proclaims to be? In this extra special Patreon bonus episode, Maia and Hannah, with the help of a series of interviews from former SSENSE employees and small business owners, discuss SSENSE’S impact on fashion as an art form. As SSENSE gobbles up all the fish in the e-commerce pond, is it actually supporting emerging artists, or snuffing them out? 

FULL EPISODE AVAILABLE ON PATREON:

https://www.patreon.com/c/rehashpodcast

When “selfie” was deemed the word of the year in 2013, people freaked it. How had society become so vapid? Were we all narcissists? Did this mean young people would spend all the precious time they COULD be building a Forbes empire… taking pictures of themselves? But did selfies really make Narcissuses of us all, or have human beings always been fascinated by their own self-image? The selfie as we know it today may have been invented by a clumsy Australian man. But from its origins in the days of Renaissance courtships, to 19th century “cartes-de-visite”, to the self-portraits of Cindy Sherman, it may be that the selfie has been with us all along. Moreover, can selfies be… art? In this bonus episode, Hannah and Maia breakdown the history, and question its future. Tangents include: Maia and Hannah moving countries, the importance of the word “gullet”, and why we’re so afraid of Victorian ghosts. 

Listen now on Patreon:

https://www.patreon.com/rehashpodcast

If you’ve ever vacantly nodded along while someone rants to you about NFTs, then this finale episode is for you. Welcome to Blockchain for Bimbos. From a genuine effort to put agency over the sale of their work back into the hands of artists was born a Frankenstein’s monster: the NFT. It’s the internet version of owning a star… if you could resell that star for millions of dollars to a crypto millionaire. Even stranger, the successful marriage of NFTs and legacy art institutions made strange bed fellows out of affluent old art collectors and dweeby tech bros. And while the era of 2021-2022 was a gold rush for those who could wrap their heads around this intentionally confounding technology, it also exposed something we always knew about the world of art, but never wanted to admit…

Ernst De Geer’s THE HYPNOSIS is now streaming on MUBI in many countries as part of their Millennial Meltdown series. 

You can try MUBI free for 30 days at mubi.com/rehash.

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

SOURCES

Kevin Roose, “What are NFTs?” The New York Times https://www.nytimes.com/interactive/2022/03/18/technology/nft-guide.html 

Valentina Di Liscia, “Artists Say Plagiarized NFTs are Plaguing Their Community” Hyperallergic (2021) https://hyperallergic.com/702309/artists-say-plagiarized-nfts-are-plaguing-their-community/

“10 things to know about CryptoPunks, the original NFTs” Christie’s (2021) https://www.christies.com/en/stories/10-things-to-know-about-cryptopunks-94347afeea234209a7739c240149f769#FID-11569 

Scott Reyburn, “Will Cryptocurrencies Be the Art Market’s Next Big Thing?” The New York Times (2018) https://www.nytimes.com/2018/01/13/arts/cryptocurrency-art-market.html/ 
“Art Term: Readymade” Tate https://www.tate.org.uk/art/art-terms/r/readymade
Cynthia Goodman, “The Digital Revolution: Art in the Computer Age” Art Journal (1990) https://www.jstor.org/stable/777115 

David Joselit, “NFTs, or The Readymade Reversed” October Magazine (2021) https://doi.org/10.1162/octo_a_00419 

Josie Thaddeus-Johns “Beeple Bring Crypto to Christie’s” The New York Times (2021) https://www.nytimes.com/2021/02/24/arts/design/christies-beeple-nft.html

Anthony Cuthbertson, “NFT millionaire Beeple says crypto art is bubble and will ‘absolutely go to zero’ The Independent (2021) https://www.independent.co.uk/tech/nft-beeple-cryptocurrency-art-b1821314.html

Zachary Small, “The Night That Sotheby’s Was Crypto Punked” The New York Times (2024) https://www.nytimes.com/2024/05/18/business/sothebys-crypto-nfts-auction.html

Adam Maida, “What Critics Don’t Understand About NFTs” The Atlantic (2021) https://www.theatlantic.com/ideas/archive/2021/04/nfts-show-value-owning-unownable/618525/ 

Anil Dash, “NFTs Weren’t Supposed to End Like This” The Atlantic (2021) https://www.theatlantic.com/ideas/archive/2021/04/nfts-werent-supposed-end-like/618488/ 

Blake Gopnik, “One Year After Beeple, the NFT has changed Artists. Has It Changed Art?” The New York Times (2022) https://www.nytimes.com/2022/03/03/arts/design/nft-art-beeple.html 

Nathaniel Popper, “What is the Blockchain? Explaining the Tech behind Cryptocurrencies” The New York Times (2018) https://www.nytimes.com/2018/06/27/business/dealbook/blockchains-guide-information.html

Considering every broad and her mother owns a pair of ballet flats these days, it’s safe to say ballet has successfully re-infiltrated popular culture. But that might not be a good thing. In this episode, Hannah and Maia, along with movement artist Susanna Haight, trace the evolution of dance in the Western zeitgeist - from the days of George Balanchine, to the introduction of camera phones into the training space. If we’re living in a time of girlhood, and girlhood is all about ballet, and ballet is all about hyper femininity, and femininity is all about self-regulation, and self-regulation is the prevailing force of our social media surveillance society… then we may just be trapped in a dance panopticon. But what does this mean for dancers? Tangents include: Maia being hit on by her pre-recorded, virtual Peloton instructor.

Support us on Patreon and get juicy bonus content:

⁠https://www.patreon.com/rehashpodcast⁠

Intro and outro song by our talented friend Ian Mills:

⁠https://linktr.ee/ianmillsmusic

Sources:

Sarah Crompton, “‘Ballet has the same appeal as Princess culture’: Alice Robb on how would-be ballerinas are taught to be thin, silent and submissive” Independent (2023).

Elizabeth Kiem, “George Balanchine: the Human Cost of an Artistic Legacy” Huffington Post (2014).

Cecily Parks, “The arts are slowly diversifying but ballet needs to catch up” New School Free Press (2023).

Irene E. Schultz, “What is a Ballet Body?” Medium (2020).

Frances Sola-Santiago, “Balletcore Is Still Huge In 2023 — Here’s Why It’s More Exciting Than Ever Before” Refinery 29 (2023).

Avery Trufelman, “On Pointe” Articles of Interest (2023).