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University of California Press
Dude, You're a Fag: Masculinity and Sexuality in High School / Edition 2

Dude, You're a Fag: Masculinity and Sexuality in High School / Edition 2

by C. J. PascoeC. J. Pascoe
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High school and the difficult terrain of sexuality and gender identity are brilliantly explored in this smart, incisive ethnography. Based on eighteen months of fieldwork in a racially diverse working-class high school, Dude, You're a Fag sheds new light on masculinity both as a field of meaning and as a set of social practices. C. J. Pascoe's unorthodox approach analyzes masculinity as not only a gendered process but also a sexual one. She demonstrates how the "specter of the fag" becomes a disciplinary mechanism for regulating heterosexual as well as homosexual boys and how the "fag discourse" is as much tied to gender as it is to sexuality.

Product Details

ISBN-13: 9780520271487
Publisher: University of California Press
Publication date: 11/01/2011
Edition description: Second Edition, With a New Preface
Pages: 248
Sales rank: 454,575
Product dimensions: 5.90(w) x 8.90(h) x 0.70(d)

About the Author

C.J. Pascoe is Associate Professor of Sociology at the University of Oregon.

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Dude, You're a Fag

Masculinity and Sexuality in High School

By C. J. Pascoe


Copyright © 2012 The Regents of the University of California
All rights reserved.
ISBN: 978-0-520-27148-7


Making Masculinity

Adolescence, Identity, and High School


Cheering students filled River High's gymnasium. Packed tightly in the bleachers, they sang, hollered, and danced to loud hip-hop music. Over their heads hung banners celebrating fifty years of River High's sports victories. The yearly assembly in which the student body voted for the most popular senior boy in the school to be crowned Mr. Cougar was under way, featuring six candidates performing a series of skits to earn student votes.

Two candidates, Brent and Greg, both handsome, blond, "all-American" water polo players, entered the stage dressed like "nerds" to perform their skit, "Revenge of the Nerds." They wore matching outfits: yellow button-down shirts; tight brown pants about five inches too short, with the waistbands pulled up clownishly high by black suspenders; black shoes with white kneesocks; and thick black-rimmed glasses held together with white tape. As music played, the boys started dancing, flailing around comically in bad renditions of outdated dance moves like the Running Man and the Roger Rabbit. The crowd roared in laughter when Brent and Greg rubbed their rear ends together in time to the music. Two girls with long straight hair and matching miniskirts and black tank tops, presumably the nerds' girlfriends, ran out to dance with Brent and Greg.

Suddenly a group of white male "gangstas" sporting bandannas, baggy pants, sports jerseys, and oversized gold jewelry walked, or, more correctly, gangsta-limped, onto the stage. They proceeded to shove Brent and Greg, who looked at them fearfully and fled the stage without their girlfriends. The gangstas encircled the two girls, then "kidnapped" them by forcing them off the stage. After peering timidly around the corner of the stage, Brent and Greg reentered. The crowd roared as Brent opened his mouth and, in a high-pitched feminine voice, cried, "We have to get our women!"

Soon a girl dressed in a sweat suit and wearing a whistle around her neck carried barbells and weight benches onto the stage. Greg and Brent emerged from behind a screen, having replaced their nerd gear with matching black and white sweat pants and T-shirts. The female coach tossed the barbells around with ease, lifting one with a single hand. The audience hooted in laughter as the nerds struggled to lift even the smallest weight. Brent and Greg continued to work out until they could finally lift the weights. They ran up to the crowd to flex their newfound muscles as the audience cheered. To underscore how strong they had become, Brent and Greg ripped off their pants. The crowd was in hysterics as the boys revealed, not muscled legs, but matching red miniskirts. At first Greg and Brent looked embarrassed; then they triumphantly dropped the skirts, revealing matching shorts, and the audience cheered.

Brent and Greg ran off stage as stagehands unfurled a large cloth sign reading "Gangstas' Hideout." Some of the gangstas who had kidnapped the girlfriends sat around a table playing poker, while other gangstas gambled with dice. The nerds, who had changed into black suits accented with ties and fedoras, strode confidently into the hideout. They threw the card table in the air, causing the gangstas to jump back as the cards and chips scattered. Looking frightened at the nerds' newfound strength, the gangstas scrambled out of their hideout. After the gangstas had fled, the two miniskirted girlfriends ran up to Brent and Greg, hugging them gratefully. Several African American boys, also dressed in suits and fedoras, ran onto the stage, dancing while the former nerds stood behind them with their arms folded. After the dance, the victorious nerds walked off stage hand in hand with their rescued girlfriends.

I open with this scene to highlight the themes of masculinity I saw during a year and a half of fieldwork at River High School. The Mr. Cougar competition clearly illuminates the intersecting dynamics of sexuality, gender, social class, race, bodies, and institutional practices that constitute adolescent masculinity in this setting. Craig and Brent are transformed from unmasculine nerds who cannot protect their girlfriends into heterosexual, muscular men. This masculinizing process happens through a transformation of bodies, the assertion of racial privilege, and a shoring up of heterosexuality.

The story line of the skit—Brent and Craig's quest to confirm their heterosexuality by rescuing their girlfriends—posits heterosexuality as central to masculinity. Brent and Craig's inability to protect "their women" marks their physical inadequacy. Their appearance—tight, ill-fitting, outdated clothes—codes them as unmasculine. Their weakness and their high-pitched voices cast them as feminine. Their homoerotic dance moves position them as homosexual. By working out, the boys shed their weak, effeminate, and possibly homosexual identities. Just in case they didn't get their message across by bench-pressing heavy weights, the boys shed their last remnants of femininity by ripping off their matching miniskirts. They become so physically imposing that they don't even have to fight the gangstas, who flee in terror at the mere hint of the nerds' strength.

This skit lays bare the ways racialized notions of masculinity may be enacted through sexualized tropes. The gangstas symbolize failed and at the same time wildly successful men in their heterosexual claim on the nerds' women. Their "do-rags," baggy pants, shirts bearing sports team insignias, and limping walks are designed to invoke a hardened inner-city gangsta style, one portrayed on television and in movies, as a specifically black cultural style. In representing black men, the gangstas symbolize hypersexuality and invoke a thinly veiled imagery of the black rapist (A. Davis 1981), who threatens white men's control over white women. But in the end, the gangstas are vanquished by the white, middle-class legitimacy of the nerds, turned masculine with their newfound strength. The skit also portrays black men as slightly feminized in that they act as cheerleaders and relieve the white heroes of the unmasculine practice of dancing.

Markers of femininity such as high voices and skirts symbolize emasculation when associated with male bodies. The girlfriends also signal a relationship between femininity and helplessness, since they are unable to save themselves from the gangstas. However, the female coach symbolizes strength, a sign of masculinity the nerds initially lack. The students in the audience cheer her as she engages in a masculinized practice, lifting weights with ease, and they laugh at the boys who can't do this. Male femininity, in this instance, is coded as humorous, while female masculinity is cheered.

Drawing on phenomena at River High such as the Mr. Cougar Assembly, the goal of this study is to explain how teenagers, teachers, and the institutional logics of schooling construct adolescent masculinity through idioms of sexuality. This book investigates the relationships between gender and sexuality as embedded in a major socializing institution of modern youth: high school. I ask how heteronormative and homophobic discourses, practices, and interactions in an American high school produce masculine identities. To examine the construction of masculinity in adolescence, I follow the deployment of, resistance to, and practices surrounding sexuality and gender in high school. I focus on the gender and sexuality practices of students, teachers, and administrators, with an emphasis on school rituals.

My findings illustrate that masculinity is not a homogenous category that any boy possesses by virtue of being male. Rather, masculinity—as constituted and understood in the social world I studied—is a configuration of practices and discourses that different youths (boys and girls) may embody in different ways and to different degrees. Masculinity, in this sense, is associated with, but not reduced or solely equivalent to, the male body. I argue that adolescent masculinity is understood in this setting as a form of dominance usually expressed through sexualized discourses.1

Through extensive fieldwork and interviewing I discovered that, for boys, achieving a masculine identity entails the repeated repudiation of the specter of failed masculinity. Boys lay claim to masculine identities by lobbing homophobic epithets at one another. They also assert masculine selves by engaging in heterosexist discussions of girls' bodies and their own sexual experiences. Both of these phenomena intersect with racialized identities in that they are organized somewhat differently by and for African American boys and white boys. From what I saw during my research, African American boys were more likely to be punished by school authorities for engaging in these masculinizing practices. Though homophobic taunts and assertion of heterosexuality shore up a masculine identity for boys, the relationship between sexuality and masculinity looks different when masculinity occurs outside male bodies. For girls, challenging heterosexual identities often solidifies a more masculine identity. These gendering processes are encoded at multiple levels: institutional, interactional, and individual.

To explore and theorize these patterns, this book integrates queer theory, feminist theory, and sociological research on masculinities. In this chapter I address the current state of sociological research on masculinity. Then, using feminist theories and theories of sexuality, I rework some of the insights of the sociology of masculinity literature. I conclude by suggesting that close attention to sexuality highlights masculinity as a process rather than a social identity associated with specific bodies.


Sociologists have approached masculinity as a multiplicity of gender practices (regardless of their content) enacted by men whose bodies are assumed to be biologically male. Early in the twentieth century, when fears of feminization pervaded just about every sphere of social life, psychologists became increasingly concerned with differentiating men from women (Kimmel 1996). As a result, part of the definition of a psychologically "normal" adult came to involve proper adjustment to one's "gender role" (Pleck 1987). Talcott Parsons (1954), the first sociologist to really address masculinity as such, argued that men's "instrumental" role and women's "expressive" role were central to the functioning of a well-ordered society. Deviations from women's role as maternal caretakers or men's role as breadwinners would result in "role strain" and "role competition," weakening families and ultimately society.

With the advent of the women's movement, feminist gender theorists examined how power is embedded in these seemingly neutral (not to mention natural) "gender roles" (Hartmann 1976; Jaggar 1983; Rosaldo and Lamphere 1974; Rubin 1984). Psychoanalytic feminist theorists explicitly addressed masculinity as an identity formation constituted by inequality. Both Dorothy Dinnerstein (1976) and Nancy Chodorow (1978) argued that masculinity, as we recognize it, is the result of a family system in which women mother. Identification with a mother as the primary caregiver proves much more problematic in the formation of a gender identity for a boy than for a girl child, producing a self we understand as masculine characterized by defensive ego boundaries and repudiation of femininity. Feminist psychoanalytic theorists equate contemporary masculinity with a quest for autonomy and separation, an approach that influences my own analysis of masculinity.

Recognizing the changes wrought for women by feminist movements, sociologists of masculinity realized that feminism had radical implications for men (Carrigan, Connell, and Lee 1987). Frustrated with the paucity of non-normative approaches to masculinity, and what they saw (a bit defensively) as feminist characterizations of masculinity as "unrelieved villainy and all men as agents of the patriarchy in more or less the same degree" (64), these sociologists attempted to carve out new models of gendered analysis in which individual men or men collectively were not all framed as equal agents of patriarchal oppression.

The emergent sociology of masculinity became a "critical study of men, their behaviors, practices, values and perspectives" (Whitehead and Barrett 2001, 14). These new sociologists of masculinity positioned themselves in opposition to earlier Parsonian theories of masculinity, proffering, not a single masculine "role," but rather the idea that masculinity is understandable only in a model of "multiple masculinities" (Connell 1995). Instead of focusing on masculinity as the male role, this model asserts that there are a variety of masculinities, which make sense only in hierarchical and contested relations with one another. R.W. Connell argues that men enact and embody different configurations of masculinity depending on their positions within a social hierarchy of power. Hegemonic masculinity, the type of gender practice that, in a given space and time, supports gender inequality, is at the top of this hierarchy. Complicit masculinity describes men who benefit from hegemonic masculinity but do not enact it; subordinated masculinity describes men who are oppressed by definitions of hegemonic masculinity, primarily gay men; marginalized masculinity describes men who may be positioned powerfully in terms of gender but not in terms of class or race. Connell, importantly, emphasizes that the content of these configurations of gender practice is not always and everywhere the same. Very few men, if any, are actually hegemonically masculine, but all men do benefit, to different extents, from this sort of definition of masculinity, a form of benefit Connell (1995) calls the "patriarchal dividend" (41).

This model of multiple masculinities has been enormously influential, inspiring countless studies that detail the ways different configurations of masculinity are promoted, challenged, or reinforced in given social situations. This research on how men do masculinity has provided insight into practices of masculinity in a wide range of social institutions, such as families (Coltrane 2001), schools (Francis and Skelton 2001; Gilbert 1998; Mac an Ghaill 1996; Parker 1996), the workplace (Connell 1998; Cooper 2000), the media (Craig 1992; Davies 1995), and sports (Curry 2004; Edley and Wetherell 1997; Majors 2001; Messner 2002). This focus on masculinity as what men do has spawned an industry of cataloguing "types" of masculinity: gay, black, Chicano, working class, middle class, Asian, gay black, gay Chicano, white working class, militarized, transnational business, New Man, negotiated, versatile, healthy, toxic, counter, and cool masculinities, among others (Messner 2004b).

While Connell intends this model of masculinities to be understood as fluid and conflictual, the multiple masculinities model is more often used to construct static and reified typologies such as the ones listed by Michael Messner. These descriptions of masculinity are intended to highlight patterns of practice in which structure meets with identity and action, but they have the effect of slotting men into masculinity categories: a hegemonic man, a complicit man, a resistant man (or the multitude of ever-increasing types of masculinities catalogued above). While these masculinities may be posited as ideal types, they are sometimes difficult to use analytically without lapsing into a simplistic categorical analysis. Because of the emphasis on masculinities in the plural, a set of types some men can seemingly step in and out of at will, this model runs the risk of collapsing into an analysis of styles of masculinity, thereby deflecting attention from structural inequalities between men and women. In other words, we must always pay attention to power relations when we think in pluralities and diversities; otherwise we are simply left with a list of differences (Zinn and Dill 1996). Additionally, the category of "hegemonic masculinity" is so rife with contradictions it is small wonder that no man actually embodies it (Donaldson 1993). According to this model both a rich, slim, soft-spoken businessman and a poor, muscular, violent gang member might be described as hegemonically masculine. At the same time neither of them would really be hegemonically masculine, since the businessman would not be physically powerful and the poor gang member would lack claims on institutional gendered power. Be cause of some of these deployment problems, those studying masculinities have for some time called for a more sophisticated analysis of masculinity (Messner 1993; Morgan 1992).


Excerpted from Dude, You're a Fag by C. J. Pascoe. Copyright © 2012 The Regents of the University of California. Excerpted by permission of UNIVERSITY OF CALIFORNIA PRESS.
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Table of Contents

Preface to the 2012 Edition

1. Making Masculinity: Adolescence, Identity, and High School
Revenge of the Nerds
What Do We Mean by Masculinity?
Bringing in Sexuality
Rethinking Masculinity, Sexuality, and Bodies
Organization of the Book

2. Becoming Mr. Cougar: Institutionalizing Heterosexuality and Masculinity at River High
River High’s Gender and Sexuality Curriculum
Pedagogy: The Unofficial Gender and Sexuality Curriculum
School Rituals: Performing and Policing Gender and Sexuality
Gender and Sexuality Regimes

3. Dude, You’re a Fag: Adolescent Male Homophobia
What Is a Fag? Gendered Meanings
Becoming a Fag: Fag Fluidity
Embodying the Fag: Ricky’s Story
Racializing the Fag
Where the Fag Disappears: Drama Performances
Reframing Homophobia

4. Compulsive Heterosexuality: Masculinity and Dominance
A Stud with the Ladies
Getting Girls
Sex Talk
Girls Respond
I’m Different from Other Guys
Females Are the Puppets

5. Look at My Masculinity! Girls Who Act Like Boys
Tomboy Pasts
Rebeca and the Basketball Girls
The Homecoming Queen: Jessie Chau
The Gay/Straight Alliance Girls
Embodying Masculinity

6. Conclusion: Thinking about Schooling, Gender, and Sexuality
Masculinity at River High
Theoretical Implications
Practical Steps

Appendix: What If a Guy Hits on You? Intersections of Gender, Sexuality, and Age in Fieldwork with Adolescents

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