372
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

Heteromasculinity and queer reappropriation in music streaming practices: exploring homonegative curation by ordinary Spotify users

ORCID Icon & ORCID Icon
Pages 695-712 | Received 08 Jul 2022, Accepted 24 May 2023, Published online: 31 May 2023

References

  • Anderson, Eric. 2011. “The Rise and Fall of Western Homohysteria.” Journal of Feminist Scholarship 1 (1): 80–94.
  • Anderson, Eric, and Mark McCormack. 2018. “Inclusive Masculinity Theory: Overview, Reflection and Refinement.” Journal of Gender Studies 27 (5): 547–561. https://doi.org/10.1080/09589236.2016.1245605.
  • Beasley, Chris. 2015. “Introduction to Special Issue of Men and Masculinities: Heterodox Hetero-Masculinities.” Men and Masculinities 18 (2): 135–139. https://doi.org/10.1177/1097184X15583825.
  • Boise, Sam de. 2015. “I’m Not Homophobic, ‘I’ve Got Gay Friends’: Evaluating the Validity of Inclusive Masculinity.” Men and Masculinities 18 (2): 318–339. https://doi.org/10.1177/1097184X14554951.
  • Bote, Joshua. 2018. “Doja Cat Comes Under Fire for Defending Homophobic Language in Tweet.” Billboard (blog) 16billboard.com/articles/news/pride/8472803/doja-cat-under-fire-defending-homophobic-language-tweet. August 16, 2018.
  • Brontsema, Robin. 2004. “A Queer Revolution: Reconceptualizing the Debate Over Linguistic Reclamation.” Colorado Research in Linguistics.
  • Butler, Judith. 1990. Gender Trouble: Feminism and the Subversion of Identity. New York City, NY: Routledge.
  • Butler, Judith. 1993. Bodies That Matter: On the Discursive Limits of Sex. Milton Park, UK: Taylor & Francis.
  • Connell, R. W. 1987. Gender and Power: Society, the Person and Sexual Politics. Cambridge: Polity Press.
  • Connell, R. W. 2005. Masculinities. 2nd ed. London: Routledge.
  • Demetriou, Demetrakis Z. 2001. “Connell’s Concept of Hegemonic Masculinity: A Critique.” Theory & Society 30 (3): 337–361. https://doi.org/10.1023/A:1017596718715.
  • DeNora, Tia. 2000. Music in Everyday Life. Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511489433.
  • Dhaenens, Frederik. 2017. “(Un)covering Masculinities in Cover Song Videos.” In The Routledge Companion to Media Fandom, 165–173. New York City, NY: Routledge.
  • Dhaenens, Frederik, and Jean Burgess. 2019. “‘Press Play for Pride’: The Cultural Logics of LGBTQ-Themed Playlists on Spotify.” New Media & Society 21 (6): 1192–1211. https://doi.org/10.1177/1461444818808094.
  • Dhaenens, Frederik, and Sander De Ridder. 2015. “Resistant Masculinities in Alternative R&B? Understanding Frank Ocean and the Weeknd’s Representations of Gender.” European Journal of Cultural Studies 18 (3): 283–299. https://doi.org/10.1177/1367549414526730.
  • Dyer, Richard. 2005. The Culture of Queers. London: Routledge. https://doi.org/10.4324/9780203996393.
  • Enfield, Nick J. 2000. “The Theory of Cultural Logic: How Individuals Combine Social Intelligence with Semiotics to Create and Maintain Cultural Meaning.” Cultural Dynamics 12 (1): 35–64. https://doi.org/10.1177/092137400001200102.
  • Fast, Susan. 1999. “Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman’s View of Pleasure and Power in Hard Rock.” American Music 17 (3): 245–299. https://doi.org/10.2307/3052664.
  • Frith, Simon. 1987. “Towards an Aesthetic of Popular Music.” In Music and Society: The Politics of Composition, Performance and Reception, edited by Richard Leppert and Susan McClary, 133–150. Cambridge: Cambridge University Press.
  • Frith, Simon, and McRobbie. Angela. 1990. “Rock and Sexuality.” In On Record: Rock, Pop and the Written Word, edited by Simon Frith and Angela McRobbie, 371–389. New York City, NY: Routledge.
  • Galinsky, Adam D., Cynthia S. Wang, Jennifer A. Whitson, Eric M. Anicich, Kurt Hugenberg, and Galen V. Bodenhausen. 2013. “The Reappropriation of Stigmatizing Labels: The Reciprocal Relationship Between Power and Self-Labeling.” Psychological Science 24 (10): 2020–2029. https://doi.org/10.1177/0956797613482943.
  • Ghaziani, Amin. 2014. There Goes the Gayborhood?. Princeton, NJ: Princeton University Press. https://doi.org/10.23943/princeton/9780691158792.003.0002.
  • Giddens, Anthony. 1991. Modernity and Self-Identity: Self and Society in the Late Modem Age. New York City, NY: Polity Press.
  • Haferkamp, Nina, Sabrina C. Eimler, Anna-Margarita Papadakis, and Jana Vanessa Kruck. 2012. “Men are from Mars, Women are from Venus? Examining Gender Differences in Self-Presentation on Social Networking Sites.” Cyberpsychology, Behavior and Social Networking 15 (2): 91–98. https://doi.org/10.1089/cyber.2011.0151.
  • Hagen, Anja Nylund. 2015. “The Playlist Experience: Personal Playlists in Music Streaming Services.” Popular Music and Society 38 (5): 625–645. https://doi.org/10.1080/03007766.2015.1021174.
  • Hagen, Anja Nylund, and Marika Lüders. 2017. “Social Streaming? Navigating Music as Personal and Social.” Convergence 23 (6): 643–659. https://doi.org/10.1177/1354856516673298.
  • Hargreaves, David J., Dorothy Miell, and Raymond A. MacDonald. 2002. “What are Musical Identities, and Why are They Important?” In Musical Identities, edited by Raymond A. MacDonald, David J. Hargreaves, and Dorothy Miell, 1–20. Oxford: Oxford University Press.
  • Heasley, Robert. 2005. “Queer Masculinities of Straight Men: A Typology.” Men and Masculinities 7 (3): 310–320. https://doi.org/10.1177/1097184X04272118.
  • Hill, Rosemary Lucy. 2016. Gender, Metal and the Media: Women Fans and the Gendered Experience of Music. London: Springer. https://doi.org/10.1057/978-1-137-55441-3_7.
  • Hogan, Bernie. 2010. “The Presentation of Self in the Age of Social Media: Distinguishing Performances and Exhibitions Online.” Bulletin of Science, Technology & Society 30 (6): 377–386. https://doi.org/10.1177/0270467610385893.
  • Hogan, Marc. 2017. “XXXTentacion is Blowing Up Behind Bars. Should He Be?” Pitchfork. February 7, 2017. https://pitchfork.com/thepitch/1437-xxxtentacion-is-blowing-up-behind-bars-should-he-be/.
  • Hooks, bell. 2004. We Real Cool: Black Men and Masculinity. Hove, UK: Psychology Press. https://doi.org/10.4324/9780203642207.
  • Jaffe, Sarah. 2018. “The Collective Power Of# MeToo.” Dissent 65 (2): 80–87. https://doi.org/10.1353/dss.2018.0031.
  • Jarman-Ivens, Freya. 2013. Oh Boy!: Masculinities and Popular Music. New York City, NY: Routledge. https://doi.org/10.4324/9780203941904.
  • Jeffries, Michael P. 2010. “Can a Thug (Get Some) Love?: Sex, Romance, and the Definition of a Hip-Hop Thug.” Women & Language 32 (2): 35–41.
  • Johnson, E. Patrick. 2003. Appropriating Blackness. Durham, NC: Duke University Press. https://doi.org/10.1515/9780822385103.
  • Jonze, Tim. 2012. “Frank Ocean and the Courage to Come Out.” The Guardian (blog). July 4, 2012. theguardian.com/music/2012/jul/04/frank-ocean-courage-come–out.
  • Kearse, Stephen. 2018. “What the Rise of XXXTentacion Says About Being a Fan Today.” Pitchfork, June 25, 2018. https://pitchfork.com/thepitch/what-the-rise-of-xxxtentacion-says-about-being-a-fan-today.
  • Kimmel, Michael S. 2004. “Masculinity as Homophobia: Fear, Shame, and Silence in the Construction of Gender Identity.” In Feminism and Masculinities, edited by Peter F. Murphy, 182–199. Oxford: Oxford University Press.
  • Kimmel, Michael S. 2013. “Abandoning the Barricades.” In Men Speak Out, edited by Shira Tarrant. New York City, NY: Routledge.
  • Lalor, Therese, and Johanna Rendle-Short. 2007. “‘That’s so Gay’: A Contemporary Use of Gay in Australian English.” Australian Journal of Linguistics 27 (2): 147–173. https://doi.org/10.1080/07268600701522764.
  • Leverenz, David. 1986. “Manhood, Humiliation, and Public Life: Some Stories.” Southwest Review 71 (4): 442–462.
  • McCann, Hannah, and Whitney Monaghan. 2019. Queer Theory Now: From Foundations to Futures. London, UK: Bloomsbury Publishing.
  • McCormack, Mark. 2011. “Mapping the Terrain of Homosexually-Themed Language.” Journal of Homosexuality 58 (5): 664–679. https://doi.org/10.1080/00918369.2011.563665.
  • McCormack, Mark, and Eric Anderson. 2010. “‘It’s Just Not Acceptable Any More’: The Erosion of Homophobia and the Softening of Masculinity at an English Sixth Form.” Sociology 44 (5): 843–859. https://doi.org/10.1177/0038038510375734.
  • Mckee, Alan. 2003. Textual Analysis: A Beginner’s Guide. London: SAGE. https://doi.org/10.4135/9780857020017.
  • Middleton, Richard. 2013. “Mum’s the Word: Men’s Singing and Maternal Law.” In Oh Boy!: Masculinities and Popular Music, edited by Freya Jarman-Ivens, 104–116. New York City, NY: Routledge.
  • Moss, Mark. 2012. The Media and Models of Masculinity. Lanham, MD: Lexington Books.
  • Nayak, Anoop, and Mary Jane Kehily. 2013. Gender, Youth and Culture: Young Masculinities and Femininities. London: Macmillan International Higher Education.
  • O’Connor, Roisin. 2018. “Tyler, the Creator Responds to Jaden Smith Calling Him His Boyfriend.” The Independent independent.co.uk/arts independent.co.uk/artsentertainment/music/news/tyler/music/news/tylercreatorjadensmithboyfrienddatingrelationshiptwitterresponsea8631151.html. November 13, 2018.
  • Oppenheim, Maya. 2016. “Azealia Banks Apologises for Vitriolic Attack Against Zayn Malik and Announces She is Keen to Collaborate.” The Independent independent.co.uk/news/people/azealia independent.co.uk/news/people/azealiabankszaynmalikapologyinstagramcollaborationa7376471.html. October 23, 2016.
  • Pascoe, Cheri J. 2011. Dude, You’re a Fag. Berkeley, CA: University of California Press. https://doi.org/10.1525/9780520950696.
  • Pascoe, Cheri Jo. 2005. “‘Dude, You’re a Fag’: Adolescent Masculinity and the Fag Discourse.” Sexualities 8 (3): 329–346. https://doi.org/10.1177/1363460705053337.
  • Penney, Joel. 2012. “‘We Don’t Wear Tight Clothes’: Gay Panic and Queer Style in Contemporary Hip Hop.” Popular Music and Society 35 (3): 321–332. https://doi.org/10.1080/03007766.2011.578517.
  • Peters, Brian M. 2010. “Emo Gay Boys and Subculture: Postpunk Queer Youth and (Re)thinking Images of Masculinity.” Journal of LGBT Youth 7 (2): 129–146. https://doi.org/10.1080/19361651003799817.
  • Pierre, Alphonse. 2019. “How Rap’s Soundcloud Generation Changed the Music Business Forever.” Pitchfork (blog). February 27, 2019. https://pitchfork.com/thepitch/how-raps-soundcloud-generation-changed-the-music-business-forever/.
  • Plummer, David. 2016. One of the Boys: Masculinity, Homophobia, and Modern Manhood. New York, NY: Routledge. https://doi.org/10.4324/9781315783642.
  • Ruberg, Bonnie. 2019. “Homophobic Twitter Hashtags, Straight Masculinity, and Networks of Queer Disavowal. In #identity: Hashtagging Race, Gender, Sexuality, and Nation, edited by De Kosnik Abigail, and Feldman Keith, 218–233. Ann Arbor, MI: University of Michigan Press.
  • Ryalls, Emily. 2013. “Emo Angst, Masochism, and Masculinity in Crisis.” Text & Performance Quarterly 33 (2): 83–97. https://doi.org/10.1080/10462937.2013.764570.
  • Savran, David. 1998. Taking It Like a Man. Princeton, NJ: Princeton University Press.
  • Schippers, Mimi. 2007. “Recovering the Feminine Other: Masculinity, Femininity, and Gender Hegemony.” Theory & Society 36 (1): 85–102. https://doi.org/10.1007/s11186-007-9022-4.
  • Serano, Julia. 2007. Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity. New York City, NY: Hachette.
  • Siles, Ignacio, Andrés Segura-Castillo, Mónica Sancho, and Ricardo Solís-Quesada. 2019. “Genres as Social Affect: Cultivating Moods and Emotions Through Playlists on Spotify.” Social Media+ Society 5 (2): 205630511984751. https://doi.org/10.1177/2056305119847514.
  • Straw, Will. 1997. “Sizing Up Record Collections.” In Sexing the Groove: Popular Music and Gender, edited by Sheila Whiteley, 3–16. London: Routledge.
  • Taylor, Jodie. 2012. Playing It Queer: Popular Music, Identity and Queer World-Making. Bern: Peter Lang. https://doi.org/10.3726/978-3-0351-0420-2.
  • Tongson, Karen. 2013. “Tickle Me Emo: Lesbian Balladeering, Straight-Boy Emo, and the Politics of Affect.” In Queering the Popular Pitch, edited by Sheila Whiteley and Jennifer Rycenga, 55–66. New York City, NY: Routledge.
  • Tristan, Bridges, and Cheri J. Pascoe. 2014. “Hybrid Masculinities: New Directions in the Sociology of Men and Masculinities.” Sociology Compass 8 (3): 246–258. https://doi.org/10.1111/soc4.12134.
  • Warner, Michael. 1993. Fear of a Queer Planet: Queer Politics and Social Theory. Minneapolis, MN: University of Minnesota Press.
  • Weinstein, Deena. 1991. Heavy Metal: A Cultural Sociology. Minneapolis, MN: Lexington Books.
  • Williams, Sarah F. 2013. “‘A Walking Open Wound’: Emo Rock and the ‘Crisis’ of Masculinity in America.” In Oh Boy!: Masculinities and Popular Music, edited by Freya Jarman-Ivens, 104–116. New York City, NY: Routledge.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.