Rehash

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).