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The 2018 General Social Survey data was just recently publicly released. We were eager to see how things shifted, especially for the demographic questions on sexual identity. As of 2018, it has officially been one decade that GSS has been asking respondents to characterize their sexual identity on the survey, you can self-classify as “heterosexual or straight,” “gay,” “lesbian,” “homosexual,” “bisexual,” or “don’t know.” This is only one way to measure sexual identity among many,  but the growth in LGB identity has been generally comparable across instruments in the past.

As Tristan has noted before, reporting on shifts in the LGBT population treats the group as homogenous and artificially presents growth in LGBT identity as though it might be equally distributed among the L’s, G’s, B’s, and T’s. But that’s not true. Bisexual women account for the lion’s share on the growth in LGBT identification. And, as Tristan and Mignon Moore showed in 2016, young Black women account for a disproportionate amount of the growth in LGB identification.

Data from GSS shows an increase in LGB identification between 2008 and 2018. Below, we charted shifts in those identifying as lesbian and gay alongside those identifying as bisexual. Consistent with what Tristan showed in 2016, bisexual identification continues to be increasing at a steeper rate.

In fact, when you look at the proportions identifying as lesbian and gay or bisexual in 2008 and compare those with the proportions identifying as lesbian and gay or bisexual in 2018, lesbian and gay identifications have not really moved much. But bisexual identities continue to increase every year.

This is consistent with other national survey work. For example, using the National Survey of Family Growth (NSFG), Compton, Farris and Chang (2015) found that almost nine percent of women in the sample and about four percent of men in the sample in 2008 and 2002 reported behavior as bisexual; that is, having sex with at least one male and at least one female partner in their lifetime. Rates of self-identification as bisexual were much lower (in 2008 0.43% of women and 0.38% of men). Perhaps with increases in social tolerance people are more likely to claim bisexual identities today, regardless of their participation in the behavior.

Previous work has also suggested that much of the growth in LGB identities is happening among women. The GSS data show that the shift appears to be primarily happening among bisexual women. Indeed, bisexuality continues to be a more popular sexual identity than lesbian among women, but a less popular sexual identity than gay among men, as others have shown. As of 2018, almost 6% of women responding to the survey identified as bisexual compared with 1.5% in 2008. Comparatively, shifts in lesbian identities among women and both gay and bisexual identities among men really haven’t shifted much.

And similar to previous analyses (here, here, and here), this shift is particularly pronounced among the young. The figure below shows changes in lesbian and gay identities alongside shifts in bisexual identities for four separate age cohorts. The real shift in among bisexual identification among 18-34 year-olds. Between 7 and 8% identified as  bisexual on the 2018 GSS survey. This is all the more interesting when you look at the 2008 data on these figures. Bisexuality did not stand out in these data in 2008. In fact, in 2008, more people identified as lesbian and gay than bisexual. This shift has emerged and grown in an incredibly short period of time.

As other data have shown as well (see here and here, for instance), people of color account for a disproportionate amount of this shift. Black bisexuals accounted for almost 7% of Black respondents on the 2018 GSS. That’s a big shift as well. And while bisexual and lesbian/gay identities were moving along similar trajectories for Black Americans through 2016, as of 2018, bisexuality was much more common (as has been true for White respondents and those of other races… yes “other race” is actually the category GSS uses… and no, it’s not a good idea).

So what do we do with all of this? One thing that we ought to take from this is to take scholarship on bisexuality more seriously. As a sexual identity, bisexuality is less studied than it ought to be. But bisexuality has continued to grow and continues to represent a larger number of people’s sexual identities than lesbian and gay combined. This is interesting for a number of reasons, but one is that much of the growth in the LGBT community might actually be the result of changes in the population of bisexual identifying people (and this is a group that is disproportionately composed of women). Whether bisexual identifying people understand themselves as a part of a distinct sexual minority, though, is a question that deserves more scholarship. If we are going to continue to group bisexuals with lesbian women and gay men when we report on shifts in LGB populations, this might be something that deserves better understanding and more attention. Context matters in how we understand identities and how they change or evolve over time.

Originally posted at Inequality by Interior Design. Read more and dive into the details there!

D’Lane R. Compton, PhD is an associate professor of sociology at the University of New Orleans with a background in social psychology, methodology, and a little bit of demography, they are usually thinking about food, country roads, stigma, queer nooks and places, sneakers and hipster subcultures. You can follow them on twitter.

Tristan Bridges, PhD is a professor at the University of California, Santa Barbara. He is the co-editor of Exploring Masculinities: Identity, Inequality, Inequality, and Change with C.J. Pascoe and studies gender and sexual identity and inequality. You can follow him on Twitter here. Tristan also blogs regularly at Inequality by (Interior) Design.

In March, in an Instagram interview with Jameela Jamil, British pop star Sam Smith announced being non-binary in both gender and sexuality, stating “I’m not male or female. I think I float somewhere in between – it’s all on a spectrum” (timestamp 21:50 to 22.10). Smith had made a similar declaration to the Sunday Times in October, 2017, but did not suggest that the media use non-binary gender pronouns at the time. During the interview, Smith also revealed that “the basis of all my sadness” has been body shaming.

This instance of “biography and history” producing a non-binary person haunted by fat-shaming is important to the sociological understanding of gender. It reminds us that gender is lived in the body, not just as an idea but as a “looking-glass self” in which multiple kinds of stigma can simultaneously reduce a person to a “tainted, discounted one”. As culture shapes the way we see ourselves, it can produce an overpowering feeling of what Cooley called “mortification,” because “we always imagine, and in imagining share, the judgments of the other mind.” In Mead’s terms, culture produces this in the “generalized other”; how we imagine ourselves as an object in the eyes of the whole society. 

The intersection of body-shaming and transphobia shows us how bullying turns the body into an object. Jamil recounted in the interview that a photographer had called her a “fat c-word.” This can be compared with C.J. Pascoe’s famous study of how the word “fag” is used in bullying to police the gender of boys. Smith concludes the interview with a vow to promote self-forgiveness and the love of the body. This struggle against the gender binary fits within the mission of Jamil’s “I Weigh” instagram series seeking to resist all forms of cultural bullying and policing of bodies, gender expression and sexuality.

Jonathan Harrison, PhD, is an adjunct Professor in Sociology at Florida Gulf Coast University, Florida SouthWestern State College and Hodges University whose PhD was in the field of racism and antisemitism.

Originally posted at the Gender & Society blog.

Two songs that seemed like they were on the radio every time I tuned into a pop station last summer were Omi’s single, “Cheerleader” (originally released in 2015) and Andy Grammar’s song, “Honey, I’m good” (originally released in 2014). They’re both songs written for mass consumption. Between 2014 and 2015, “Cheerleader” topped the charts in over 20 countries around the world. And, while “Honey, I’m Good” had less mass appeal, it similarly found its way onto top hit lists around the world.

They’re different genres of music. But they both fall under the increasingly meaningless category of “pop.”  And, because they both gained popularity around the same time, it was possible to hear them back to back on radio stations across the U.S.  Both songs are about the same issue: each are ballads sung by men celebrating themselves for being faithful in their heterosexual relationships.  Below is Omi’s “Cheerleader.” Here is the chorus:

“All these other girls are tempting / But I’m empty when you’re gone / And they say / Do you need me? / Do you think I’m pretty? / Do I make you feel like cheating? / And I’m like no, not really cause / Oh I think that I found myself a cheerleader / She is always right there when I need her / Oh I think that I found myself a cheerleader / She is always right there when I need her”

In Omi’s song, he situates himself as uninterested in cheating because he’s found a woman who believes in him more than he does. And this, he suggests, is worth his fidelity. Though, he does admit to being tempted, which also works to situate him as laudable because he “has options.”

Andy Grammar’s song is a different genre. And like Omi’s song, it’s catchy (though, apparently less catchy if pop charts are a good measure). Grammar’s video is dramatically different as well. It’s full of couples lip syncing his song while claiming amounts of time they’ve been faithful to one another. Again, and for comparison, below is the chorus:

“Nah nah, honey I’m good / I could have another but I probably should not / I’ve got somebody at home, and if I stay I might not leave alone / No, honey I’m good, I could have another but I probably should not / I’ve gotta bid you adieu and to another I will stay true”

Unlike Omi’s song, Grammar’s single is a song about a man at a bar without his significant other. He’s turning down drinks from a woman (or women), claiming that he doesn’t trust himself to be faithful if he gives into the drink. Instead, he opts to leave the bar to ensure he doesn’t give in to this temptation.

Both songs are written in the same spirit. They’re songs that appear to be about women, but are actually anthems about what amazing men these guys are because… well, because they don’t cheat, but could.

I was struck by the common message, a message at least partially to blame for why we all heard them so much. And the message is that, for men in heterosexual relationships, resisting the temptation to be unfaithful is hard work. And this message helps to highlight key ingredients of contemporary hegemonic masculinities: heterosexuality and promiscuity. Both men are identifying as heterosexual throughout each song. But, you might think, they’re not identifying as promiscuous. So, how are they supporting this cultural ideal if they appear to be challenging it? The answer to that is all in the delivery.

Amy C. Wilkins studied the ways that a group of college Christian men navigated what she terms the “masculinity dilemma” of demonstrating themselves to be heterosexual and heterosexually active when they were in a group committed to abstinence. Wilkins discovered that they navigated this dilemma by enacting what she refers to as “collective processes of temptation” whereby they crafted a discourse about just how masculine they were by resisting the temptation to be heterosexually active. They ritualistically discussed the problem of heterosexual temptation. And, in so doing, Wilkins argues that the men she studied, “perform their heterosexuality collectively, aligning themselves with conventional assumptions about masculinity through the ritual invocation of temptation” (here: 353). It’s hard to craft an identity based on not doing something. But if you’re going to, Wilkins argues that temptation is key.

Similarly, Sarah Diefendorf found that young evangelical Christian men navigate their gender identities alongside pledges of sexual abstinence until marriage. Men in Diefendorf’s study used one another as “accountability partners” to make sure they didn’t cheat on their pledges if they were in relationships, but even with things like pornography or masturbation. As Diefendorf writes, “These confessions… enable these men to demonstrate a connection with hegemonic masculinity through claims of desire for future heterosexual practices” (here: 658-659). In C.J. Pascoe’s study of high school boys navigating tenuous gender and sexual identities, she refers to this process more generally as “compulsive heterosexuality.”

Both songs are meant to situate the two singers as great men, men to be admired. But, being able to listen to this message and “get it” means that you can take for granted the premise on which the songs are based—in this case, that men are hard-wired to be sexual scoundrels and that heterosexual women should count themselves lucky if they are fortunate enough to have landed a man committed to not living up to his wiring. Without understanding men as having a natural and apparently insatiable sexual wanderlust, these songs don’t make sense.

Both Omi and Grammar need the discourse of temptation to frame themselves as noble. If we want to challenge men to not cheat, we should be challenge the idea that they’re working against biologically deterministic inclinations to do so. I’m not sure it would make a top 20 hit, but neither would it recuperate forms of gendered inequality through the guise of dismantling them.

________________

*Thanks to Sarah Diefendorf for her edits and smart feedback on this post.Tristan Bridges, PhD is a professor at the University of California, Santa Barbara. He is the co-editor of Exploring Masculinities: Identity, Inequality, Inequality, and Change with C.J. Pascoe and studies gender and sexual identity and inequality. You can follow him on Twitter here. Tristan also blogs regularly at Inequality by (Interior) Design.

According to the Southern Poverty Law Center, the US saw a spike of hate incidents after the election of Donald Trump on November 8th. 867 real-world (i.e., not internet-based) incidents were reported to the Center or covered in the media in just 10 days. USA Today reports that the the Council on American-Islamic relations also saw an uptick in reports and that the sudden rise is greater than even what the country saw after the 9/11 attacks. This is, then, likely just a slice of what is happening.

The Center doesn’t present data for the days coming up to the election, but offers the following visual as an illustration of what happened the ten days after the 8th.

If the numbers of reports prior to the 8th were, in fact, significantly lower than these, than there was either a rise in incidents after Trump’s victory and Clinton’s loss, or an increase in the tendency to report incidents. Most perpetrators of these attacks targeted African Americans and perceived immigrants.

The most common place for these incidents to occur, after sidewalks and streets, was K-12 schools. Rosalind Wiseman, anti-bullying editor and author of Queen Bees and Wannabes, and sociologist CJ Pascoe, author of Dude, You’re a Fag, both argue that incidents at schools often reflect adult choices. Poor role models — adults themselves who bully or who fail to stand up for the bullied — make it hard for young people to have the moral insight and strength to do the right thing themselves.Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

“[A]n analysis of traffic can enrich sociological theory.” (Schmidt-Relenberg, 1968: 121)

Almost everywhere we go is a “gendered space.” Although men and women both go to grocery stores, different days of the week and times of the day are associated with different gender compositions of shoppers. Most of our jobs are gendered spaces. In fact, Census data show that roughly 30% of the 66,000,000 women in the U.S. labor force occupy only 10 of the 503 listed occupations on the U.S. Census. You’d probably be able to guess what some of these jobs are just as easily as you might be able to guess some of the very few Fortune 500 companies have women CEOs. Sociologists refer to this phenomenon as occupational segregation, and it’s nothing new. Recently, I did read about a gender segregated space that is new (at least to me): traffic.

When I picture traffic in my head, I think of grumpy men driving to jobs they hate, but this is misleading. Women actually make up the vast majority of congestion on the roads. One way of looking at this is to argue that women are causing more congestion on our roads. But another way to talk about this issue (and the way to talk about this issue that is consistent with actual research) is to say that women endure more congestion on the roads.

Women were actually the first market for household automobiles in the U.S. Men generally traveled to work by public transportation. Cars sold to households were marketed to women for daily errands. This is why, for instance, early automobiles had fancy radiator caps with things like wings, angels and goddesses on them. These were thought to appeal to women’s more fanciful desires.

Traffic increased a great deal when women moved into the labor force. But this is not exactly what accounts for the gender gap. In the 1950s, car trips that were work-related accounted for about 40% of all car use. Today that number is less than 16%. The vast majority of car trips are made for various errands: taking children to school, picking up groceries, eating out, going to or from day care, shopping, and more shopping.  And it’s women who are making most of these trips. It’s a less acknowledged portion of the “second shift” which typically highlights women’s disproportionate contribution to the division of labor inside the household even when they are working outside of the household as well.

Traffic research has shown that women are more than two times more likely than men to be taking someone else where they need to go when driving.  Men are  more likely to be driving themselves somewhere.  Women are also much more likely to string other errands onto the trips in which they are driving themselves somewhere (like stopping at the grocery store on the drive home, going to day care on the way to work, etc.). Traffic experts call this “trip chaining,” but the rest of us call it multi-tasking. What’s more, we also know that women, on average, leave just a bit later than men do for work, and as a result, are much more likely to be making those longer (and more involved) trips right in the middle of peak hours for traffic.

Who knew? It’s an under-acknowledged gendered space that deserves more attention (at least from sociologists). Traffic is awful, and if we count up all that extra time and add it to the second shift calculations made by Arlie Hochschild, I think we have a new form of inequality to complain about.

Tristan Bridges, PhD is a sociologist at the College at Brockport (SUNY). With CJ Pascoe, he is the editor of Exploring Masculinities: Identity, Inequality, Continuity and Change. He blogs at Inequality by (Interior) Design, where this post originally appeared. You can follow Dr. Bridges on Twitter.

Robin Thicke’s song, “Blurred Lines,” achieved international recognition in 2013. But the lyrics were also heavily criticized as promoting sexual violence by celebrating “blurred lines” around sexual consent. Indeed, the song and video prompted an online photo essay in which women and men are depicted holding up signs with words they heard from their own rapists — some of which were almost direct quotes from Thicke’s song. The song received a great deal of negative and positive press all at the same time.

It’s not a new argument to suggest that many elements of what feminist scholars refer to as “rape culture” are embedded in seemingly pleasurable elements of pop culture, like songs, movies, and television shows. And Robin Thicke’s song served as an example to many of how we not only tolerate rape culture, but celebrate it and render it “sexy.”

Recently, Rebecca Traister discussed just how much rape culture even informs what we think of as “good sex” in her piece “The Game is Rigged.” In it, Traister challenges the notion that all consensual sex is good and shows just how messy the debate about what qualifies as “consensual” really is. In many ways, our national discussion around sexual assault and consent is taking up themes raised by feminists in the 1980s about what actually qualifies as consent in a society in which violence against women is considered sexy.

Compared with “Blurred Lines,” Justin Bieber’s newly released hit single, “What Do You Mean?” has been subject to less critique, though it reproduces the notion that women do not actually know what they want and that they are notoriously bad and communicating their desires (sexual and otherwise). In the song, Bieber asks the woman with whom he’s interacting:

What do you mean?
Ohh ohh ohh
When you nod your head yes
But you wanna say no
What do you mean?

The lack of clear consent isn’t just present in the song; it is what provides the sexual tension. It’s part of what is intended to make the song “sexy.”

Sexualizing women’s sexual indecision is an important part of the way rape culture works. It is one way that conversations about consent often over-simplify a process that is and should be much more complex. The song itself presents Bieber nagging the woman to whom he’s singing to make a decision about their relationship. But there are many elements suggesting that the decision she’s being asked to make is more immediate as well — not only about the larger relationship, but about a sexual interaction in the near future. Throughout the song, the click of a stopwatch can be heard as a beat against which Bieber presses the woman to make a decision while berating her for the mixed signals she has been sending him.

Bieber is presented as the “good guy” throughout the song by attempting to really decipher what the woman actually means. Indeed, this is another element of rape culture: the way in which we are encouraged to see average, everyday guys as “not-rapists,” because rapists are the bad guys who attack women from bushes (at worst) or simply get them drunk at a party (at best).

The controversy over the ad in Bloomingdale’s 2015 holiday catalog urging readers to “spike your best friend’s eggnog when they’re not looking” shows that this kind of rape culture is also casually promoted in popular culture as well.  But, the larger discourse that Bieber’s song plays a role in promoting is the notion that women do not know what they mean or want. Bieber plays the role of someone simultaneously pressuring her for sexual advance (“Said we’re running out of time”), helping her work through her feelings (“What do you mean?”), and demanding results (“Better make up your mind”). And, like the Bloomingdale’s advertisement, this is not sexy.

Indeed, the music video takes this a step further. Bieber is shown at the beginning paying John Leguizamo on a street corner and asking him to make sure “she doesn’t get hurt.” We later find out that John was paid to orchestrate a kidnapping of both Justin and the woman. Both are taken by men in masks, driven to a warehouse in the trunk of a car, and tied up. Justin is able to free them, but they are still in a room with their kidnappers.

They back up to a door that leads outside the building and see that they are one of the top floors. Justin turns to the woman, holds out his hand and asks, “Do you trust me?” She takes his hand and they both jump out of the building. They jump and fall to the ground, landing on a parachute pillow only to discover that the whole thing was a trick. The kidnapping was actually an orchestrated ruse to bring her to a party that they entered by leaping from the building away from the men who’d taken them. The men in masks all reveal themselves to be smiling beneath. She smiles at Justin, recognizing that it was all a trick, grabs his face, kisses him and they dance the night away in the underground club.

Even though the song is about feeling like a woman really can’t make up her mind about Justin, their relationship, and sexual intimacy, the woman in the video is not depicted this way at all. She appears sexually interested in Justin from the moment the two meet in the video and not bothered by his questions and demands at all. Though it is worth mentioning that he is terrorizing her in the name of romance, indeed the terror itself is a sign of how much he loves her — also a part of rape culture. This visual display alongside the lyrics works in ways that obscure the content of the lyrics, content that works against much of what we are shown visually.

Part of what makes rape culture so insidious is that violence against women is rendered pleasurable and even desirable. Thicke and Bieber’s songs are catchy, fun, and beg to be danced to. The women in Thicke’s video also appear to be having fun strutting around nude while the men sing. The woman in Bieber’s video is being kidnapped and terrified for sport, sure, but it’s because he wants to show his love for her. She’s shown realizing and appreciating this at the conclusion of the video.

Rape culture hides the ways that sexual violence is enacted upon women’s bodies every day. It obscures the ways that men work to minimize women’s control over their own bodies. It conceals the ways that sexual violence stems not just from dangerous, deviant others, but the normal everydayness of heterosexual interactions. And all of this works to make sexualized power arrangements more challenging to identify as problematic, which is precisely what makes confronting rape culture so challenging.

Originally posted at Feminist Reflections and Inequality by (Interior) Design.

Tristan Bridges is a sociologist at the College at Brockport (SUNY) and CJ Pascoe is a sociologist at the University of Oregon. Pascoe is the author of Dude, You’re a Fag:  Masculinity and Sexuality in High School, and together they are the editors of Exploring Masculinities: Identity, Inequality, Continuity and Change.

“Lumbersexual” recently entered our cultural lexicon. What it means exactly is still being negotiated. At a basic level, it’s an identity category that relies on a set of stereotypes about regionally specific and classed masculinities. Lumbersexuals are probably best recognized by a set of hirsute bodies and grooming habits. Their attire, bodies, and comportment are presumed to cite stereotypes of lumberjacks in the cultural imaginary. However, combined with the overall cultural portrayal of the lumbersexual, this stereotype set fundamentally creates an aesthetic with a particular subset of men that idealizes a cold weather, rugged, large, hard-bodied, bewhiskered configuration of masculinity.

Similar to hipster masculinity, “lumbersexual” is a classification largely reserved for young, straight, white, and arguably class-privileged men. While some position lumbersexuals as the antithesis of the metrosexual, others understand lumbersexuals as within a spectrum of identity options made available by metrosexuality. Urbandicionary.com defines the lumbersexual as “a sexy man who dresses in denim, leather, and flannel, and has a ruggedly sensual beard.”

One of the key signifiers of the “lumbersexual,” however, is that he is not, in fact, a lumberjack. Like the hipster, the lumbersexual is less of an identity men claim and more of one used to describe them (perhaps, against their wishes). It’s used to mock young, straight, white men for participating in a kind of identity work. Gearjunkie.com describes the identity this way:

Whether the roots of the lumbersexual are a cultural shift toward environmentalism, rebellion against the grind of 9-5 office jobs, or simply recognition that outdoor gear is just more comfortable, functional and durable, the lumbersexual is on the rise (here).

Many aspects of masculinity are “comfortable.” And, men don’t need outdoor gear and lumberjack attire to be comfortable. Lumbersexual has less to do with comfort and more to do with masculinity. It is a practice of masculinization. It’s part of a collection of practices associated with “hybrid masculinities”—categories and identity work practices made available to young, white, heterosexual men that allow them to collect masculine status they might otherwise see themselves (or be seen by others) as lacking. Hybridization offers young, straight, class-privileged white men an avenue to negotiate, compensate, and attempt to control meanings attached to their identities as men. Hybrid configurations of masculinity, like the lumbersexual, accomplish two things at once. They enable young, straight, class-privileged, white men to discursively distance themselves from what they might perceive as something akin to the stigma of privilege. They simultaneously offer a way out of the “emptiness” a great deal of scholarship has discussed as associated with racially, sexually, class-privileged identities (see here, here, and here).

The lumbersexual highlights a series of rival binaries associated with masculinities: rural vs. urban, rugged vs. refined, tidy vs. unkempt. But the lumbersexual is so compelling precisely because, rather than “choosing sides,” this identity attempts to delicately walk the line between these binaries. It’s “delicate” precisely because this is a heteromasculine configuration—falling too far toward one side or the other could call him into question. But, a lumbersexual isn’t a lumberjack just like a metrosexual isn’t gay. Their identity work attempts to establish a connection with identities to which they have no authentic claim by flirting with stereotypes surrounding sets of interests and aesthetics associated with various marginalized and subordinated groups of men. Yet, these collections are largely mythologies. The bristly woodsmen they are ostensibly parroting were, in fact, created for precisely this purpose. As Willa Brown writes,

The archetypal lumberjack—the Paul Bunyanesque hipster naturalist—was an invention of urban journalists and advertisers. He was created not as a portrait of real working-class life, but as a model for middle-class urban men to aspire to, a cure for chronic neurasthenics. He came to life not in the forests of Minnesota, but in the pages of magazines (here).

Perhaps less obviously, however, the lumbersexual is also coopting elements of sexual minority subcultures. If we look through queer lenses we might suggest that lumbersexuals are more similar to metrosexuals than they may acknowledge as many elements of “lumberjack” identities are already connected with configurations of lesbian and gay identities. For instance, lumbersexuals share a lot of common ground with “bear masculinity” (a subculture of gay men defined by larger bodies with lots of hair) and some rural configurations of lesbian identity. Arguably, whether someone is a “bear” or a “lumbersexual” may solely be a question of sexual identity. After all, bear culture emerged to celebrate a queer masculinity, creating symbolic distance from stereotypes of gay masculinities as feminine or effeminate. Lumbersexuals could be read as a similar move in response to metrosexuality.

Lumbersexual masculinity is certainly an illustration that certain groups of young, straight, class-privileged, white men are playing with gender. In the process, however, systems of power and inequality are probably better understood as obscured than challenged. Like the phrase “no homo,” hybrid configurations of masculinity afford young straight men new kinds of flexibility in identities and practice, but don’t challenge relations of power and inequality in any meaningful way.

Cross-posted at Feminist Reflections, Pacific Standard. and Inequality by (Interior) Design. Image borrowed from here.

D’Lane R. Compton, PhD is an associate professor of sociology at the University of New Orleans. Tristan Bridges is a sociologist at the College at Brockport (SUNY).  You can follow them on twitter at @drcompton and @tristanbphd.

The authors would like to thank the Orange Couch of NOLA, Urban Outfitters, the rural (&) queer community, and Andrea Herrera for suggesting we tackle this piece. Additional thanks to C.J. Pascoe and Lisa Wade for advanced reading and comments.

In this excellent 6 minute video, CJ Pascoe discusses some of the findings of her widely acclaimed book, Dude, You’re a Fag.  She points out that, while being called “fag” and other terms for people with same sex desires are the most common and most cutting of insults between boys in school, they rarely mean to actually suggest that the target is gay.  Instead, the terms are used to suggest that boys are failing at masculinity.

This, she points out, is not “unique to childhood.”  For this reason, calling it bullying it is probably a distraction from the fact that this doesn’t just happen among kids.  She includes, as an example, a bomb destined for Afghanistan with the phrase “highjack this, fags” written on it by American soldiers.

Kids, then, aren’t in a particularly nasty stage.  They’re “repeating, affirming, investing in all of these norms and expectations that we as adults are handing down.”  If we used more adult language, Pascoe argues, we might do a better job of thinking how we’re teaching boys how to be this way.

A great watch:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.