Abstract
“Working on Ricardo Arjona? Poor you, some ordeal!”, “Do you believe those women have your same capacity to understand his lyrics?”. These are just a few of the comments made by academics from different settings when they considered my doctoral thesis proposal. It is the aim of my research to inquire into the configuration of femininities across music by carrying out fieldwork in the Guatemalan singer and songwriter fan club in Argentina. This article will analyze the ways in which some objects of the culture industries become uncomfortable for some feminist positions and, from there, how they are underrated as potential triggers of many women’s pleasures, fantasies and identitarian games. The analytical automatisms that arise from these positions and preclude the possibility of understanding them as sociologically relevant objects to the study of contemporary femininities will also be questioned.
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