Now, the programmes on dial are also changing, bringing back a kind of show that, for about 20 years, have been generally put aside in favour of a music-driven programming. Besides that, the stations started offering more content in their web pages: photo, video, predetermined musical playlists, segmented news, etc.

used telephone, e-mail and SMS-and the broadcaster. The introduction of social networks in the dynamics of the shows (especially Twitter and Facebook, and more recently WhatsApp) has added new possibilities of interaction between a highly connected audience-which already. This paper analyses how São Paulo radio stations targeting the young audience (up to 30 years old) are reconfiguring their services and schedules to serve a new audience demand. Fandom is key to understanding modern life in our increasingly mediated and globalized world. Contributors examine fans of high cultural texts and genres, the spaces of fandom, fandom around the globe, the impact of new technologies on fandom, and the legal and historical contexts of fan activity. This unparalleled selection of original essays examines instances across the spectrum of modern cultural consumption from Karl Marx to Paris Hilton, Buffy the Vampire Slayer to backyard wrestling, Bach fugues to Bollywood cinema, and nineteenth-century concert halls to computer gaming. Fandom brings together leading scholars to examine fans, their practices, and their favorite texts. Fandom extends beyond television and film to literature, opera, sports, and pop music, and encompasses both high and low culture. Whether we log on to Web sites to scrutinize the latest plot turns in Lost, 'stalk' our favorite celebrities on Gawker, attend gaming conventions, or simply wait with bated breath for the newest Harry Potter novel-each of us is a fan. It goes on to chart the growth of participatory culture on the web, take up blogging as perhaps the most powerful illustration of how consumer participation impacts mainstream media, and debate the public policy implications surrounding participation and intellectual property. Starting with an interview on the current state of fan studies, this volume maps the core theoretical and methodological issues in Fan Studies. Bringing together the highlights of a decade and a half of groundbreaking research into the cultural life of media consumers, Fans, Bloggers, and Gamers takes readers from Jenkins's progressive early work defending fan culture against those who would marginalize or stigmatize it, through to his more recent work, combating moral panic and defending Goths and gamers in the wake of the Columbine shootings. Though marginal and largely invisible to the general public at the time, today, media producers and advertisers, not to mention researchers and fans, take for granted the idea that the success of a media franchise depends on fan investments and participation. Henry Jenkins's pioneering work in the early 1990s promoted the idea that fans are among the most active, creative, critically engaged, and socially connected consumers of popular culture and that they represent the vanguard of a new relationship with mass media. It shows that some of the fans are making “fanfiction” as the reproductions of new artefacts, despite actively participating in BTS fandom by doing activities as include in the four types of Jenkin’s participatory cultures. The data were collected by focus group discussion, in-depth interview and data analysis. Using the Henry Jenkins’s Participatory culture theory along with qualitative method, this research tries to analyze that there are audiens who do not only consuming pop culture, but also producing new cultural artefacts from that. Abbreviated as BTS, the fans of BangTan Boys is proudly call themselves, “ARMY”. One of most popular of the Korean singer groups is BangTan Boys. In the past, those who become fans is only from a spesific age, but now it is more varied. This trend includes Korean drama, dance, music, films, animation, games, and fans club for Korean pop celebrity. The sudden popularity of the culture commonly known as as Korean Wave or Hallyu. In the past few years, South Korean pop culture has become a global phenomenon.

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