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IntroductionWhile increased time spent on social media can be negatively related to one’s overall mental health, social media research often fails to account for what behaviors users are actually engaging in while they are online. The present research helps to address this gap by measuring participants’ active and passive social media behavioral styles and investigates whether and how these two social media behavioral styles are related to depression, anxiety, and stress, and the mediating role of emotion recognition ability in this relationship.MethodsA pre-study (N = 128) tested whether various social media behaviors reliably grouped into active and passive behavioral styles, and a main study (N = 139) tested the relationships between social media use style, emotion recognition, and mental health.ResultsWhile we did not find evidence of a mediating relationship between these variables, results supported that more active social media use was related to more severe anxiety and stress as well as poorer emotion recognition skill, while passive social media use was unrelated to these outcomes.DiscussionThese findings highlight that, beyond objective time spent on social media, future research must consider how users are spending their time online.

This article looks at the intersection between men’s fashion, ambiguous masculine identities and the emerging media form of music video in the AIDS-darkened early 1980s. It asks two questions: firstly, what enabled sartorial features in masculine fashion and grooming previously associated with queer-identifying men to cross over into the mainstream fashion culture of the 1980s? Secondly, how was it that in the startlingly homophobic climate of this ‘age of AIDS’, sexually ambiguous figures such as Wham!’s George Michael became such popular style role models? The article addresses these questions by arguing that Elvis Presley’s Jailhouse Rock (1957) – a strong stylistic influence on Wake Me Up Before You Go-Go by Wham! in 1984 – is an example of the Camp trace that remains when Camp aesthetics are removed from explicitly queer contexts. It argues that Jailhouse Rock is a dramatization of situational homosexuality, a mid-twentieth-century understanding of same-sex attraction between straight-identifying men, a precedent that permits the homoerotic group dynamic of Wham!. The article then explains how fashion worn by Michael in Wake Me Up Before You Go-Go – namely British designer Katherine Hamnett’s CHOOSE LIFE slogan T-shirt, and an alternative costume in which the colour pink is most prominent – demonstrates an intersection between fashion and politics for gay men in the 1980s. It also discusses Michael as an example of the New Man, an advertising and media trope of the 1980s that represented a blurring between queer masculine style and a new straight stereotype.