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Dr. Eline Jansen, a cultural historian from Leiden University, argues that obscenity in youth texts is a “linguistic rebellion” against what Gen Z perceives as outdated moral authority. “When they use words like ‘klootzooi’ (crap) or ‘kanker’ (cancer), it’s not to offend but to reclaim power in spaces where they feel unheard,” she explains. Meanwhile, child psychologist Maarten van Dijk warns of desensitization: “Exposure to aggressive language can blur boundaries between expression and harm, especially for vulnerable youth.”
The "Mieke Maaike" track is widely attributed to the margins of Dutch internet culture, often associated with anonymous creators or obscure cabaret-style acts that thrive on absurdism and provocation. Unlike mainstream music, this piece falls into the category of "shock humor"—a genre intended to offend or disgust the listener for comedic effect. Mieke Maaike Obscene Jeugd Tekst
The intersection of gender performance and linguistic subversion is central to recent scholarship. demonstrates that the strategic use of profanity by female protagonists can act as a “linguistic reclamation of power” (p. 112). This perspective aligns with M. Schippers (2023) , who argues that contemporary Dutch women writers often employ “obscene” diction to challenge patriarchal expectations of modesty. Meanwhile, child psychologist Maarten van Dijk warns of
“Mieke, Maaike, op de fiets — zuigt een vreemde in de stegen, onbesuisd.” demonstrates that the strategic use of profanity by
Finally, the article should have a clear thesis or central question, perhaps exploring whether obscenity in youth texts is a necessary form of expression or if it poses risks, and how society should respond.