“Maybe it’s … skin colour?” How race-ethnicity and gender function in consumers’ formation of classification styles of cultural content

Schaap, Julian; Berkers, Pauwke

doi:10.1080/10253866.2019.1650741

Cited by 11 publications

(10 citation statements)

References 71 publications

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“…Finally, this research also expands the ongoing discussion between gender and consumption (Costa, 1994;Holt and Thompson, 2004;Schaap and Berkers, 2019), more specifically, on engagement in behaviours that were earlier associated with the opposite sex (Anderson and McCormack, 2018;Clarke and Braun, 2019;Ho et al, 2020;Madan et al, 2018;Petrylaite and Hart, 2019).…”

Section: Discussionmentioning

confidence: 52%

It’s time for men to groom up!

Sayon

Almeida

2020

JCM

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Purpose This paper aims to systematically review male cosmetics consumption (CC) literature and, given the dearth of research about the topic, especially on Western emerging country contexts, to shed light on the paradoxical behaviour concerning male grooming by empirically assessing the impact of some psychological and demographic antecedents of consumption. Design/methodology/approach Six hypotheses derived from a systematic review of the literature were tested through structured equation modelling (SEM), based on data of 476 Brazilian men. Findings The results empirically sustain the positive influence of vanity and masculinity in grooming product consumption, with partial mediation of vanity between masculinity and consumption. Counterintuitively, it also confirms the negative influence of income. Age and marital status are not statistically relevant. Practical implications Practitioners should invest in marketing actions focusing on low-income men, who showed genuine interest in grooming products, promoting them as powerful tools to improve appearance and social recognition. Additionally, educational and wellness-related campaigns could be effective. Social implications Beyond profitability, economic growth and men’s well-being, the results might affect the whole society through male cosmetics' contribution to blending gender paradigms. Originality/value This study focuses on an economically relevant segment that defies the status quo. It is the first to systematically demonstrate the state of the art of male CC knowledge and to illuminate the role of psychological and demographic variables in influencing CC, enriching the literature on appearance, gender and consumption.

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Section: Discussionmentioning

confidence: 52%

It’s time for men to groom up!

Sayon

Almeida

2020

JCM

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“…Each interview started with a photo elicitation task based on Q methodology (Watts and Stenner 2012), in which respondents were asked to sort a diverse range of rock musicians on the basis of the question “how ‘rock’ do you rate this artist?” (Schaap and Berkers 2019). These images were diverse in terms of rock’s subgenres (e.g., indie, punk, metal, stadium rock) but also in terms of artists’ ethnoracial and gender traits.…”

Section: Methodsmentioning

confidence: 99%

“You’re Not Supposed to Be into Rock Music”: Authenticity Maneuvering in a White Configuration

Schaap

Berkers

2020

Sociology of Race and Ethnicity

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The authors investigate how American and Dutch rock music consumers navigate the whiteness of rock music practice and discourse. In doing so, they address the complex connection between aesthetic categories (popular music) and ethnoracial categories and to what extent this relationship is open or resistant to structural change. Connecting literature on the racialization of cultural genres and on symbolic violence, the authors demonstrate how authentication through faithfulness to preestablished sociocultural configurations reinforces the whiteness of rock music consumption in both countries in very similar ways. The analysis of 27 in-depth interviews produces a threefold typology of positions that rock consumers take up vis-à-vis the sociocultural configuration of rock music authenticity: complying, amending, and replacing. From a position of complicity to this configuration, people of color are often a priori regarded as inauthentic participants, also by outsiders who consider them to “act white.” However, the analysis indicates that the shift toward a symbolic economy of authenticity enables actors to resist white hegemony as discursive authenticity at the expense of the more rigid dispositional and agentic variations underlying symbolic violence. This allows an active amending of the hegemonic configuration within the genre— authenticity maneuvering—by replacing the discourse, forging new spaces of consumption, and installing heavily policed inclusive practices.

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“…The importance of gendered discourses within genres not only has consequences for representation of gender groups in various genres, either as audience or as artists, but also for how legitimate these genres are considered. For example, pop music was historically considered-at least until the rise of 'poptimism' sentiments-generally pre-fabricated, inferior and simple, and hence tied to notions of femininity [58,65], whereas genres that are increasingly legitimated, such as jazz and rock, have come to be associated with masculinity [43,66,67]. The question remains, however, whether the coupling between legitimacy and masculinity that Schmutz [17] found and that the rockism and poptimism discourses allude to [2,22,23], can also be found in popular music discourse (re)produced in the last two decades.…”

Section: Media Discourse On Gendermentioning

confidence: 99%

“…Quite the opposite: the 'objective' gender division is also a concrete reflection of how genres are perceived in society. If genre x is, according to the dominant beliefs in a society, clearly a 'feminine' genre, it may prevent boys/men to listen to it, to develop a preference for it and, in the end, contribute to the genre by producing music themselves (as indicated by, for example: [56,62,66,80,81]).…”

Section: Analytical Strategymentioning

confidence: 99%

Using word embedding models to capture changing media discourses: a study on the role of legitimacy, gender and genre in 24,000 music reviews, 1999–2021

Daenekindt

Schaap

2022

J Comput Soc Sc

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Studies suggest that popular music genres are increasingly discussed by cultural intermediaries in ‘legitimate’ or ‘highbrow’ terms, rather than merely ‘lowbrow’ commercial entertainment. In addition, popular music discourse as produced by such intermediaries has historically been decidedly masculine—a trait which tends to increase on par with legitimation. However, seeing that women are gradually gaining symbolic and numerical representation in popular music production, this may have been changing over the last decade(s). In this article, we assess how popular music discourse within a key music media outlet (Pitchfork) changed between 1999 and 2021. We use word embedding models—a novel technique in computational social science—to assess legitimacy and gender in the discourses used in 23,992 reviews, and how this varies between genres. We find four notable patterns. First, reviews increasingly use a discourse that legitimates popular music, while, second, also increasingly using more feminine terms. This does not, third, occur simultaneously; however, discourse is either legitimate or feminine. Finally, these patterns also differ based on which popular music genres are discussed. The overall pattern is consistently found in pop, electronic and experimental, but not in historically masculine genres rap/hip-hop, metal and jazz which seem rather resistant to discursive change.

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“Maybe it’s … skin colour?” How race-ethnicity and gender function in consumers’ formation of classification styles of cultural content

Abstract: View related articles View Crossmark data Citing articles: 1 View citing articles "Maybe it's … skin colour?" How race-ethnicity and gender function in consumers' formation of classification styles of cultural content

Cited by 11 publications

References 71 publications

It’s time for men to groom up!

It’s time for men to groom up!

“You’re Not Supposed to Be into Rock Music”: Authenticity Maneuvering in a White Configuration

Using word embedding models to capture changing media discourses: a study on the role of legitimacy, gender and genre in 24,000 music reviews, 1999–2021

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