Filmmaker And Speech Pathologist Weigh In On What It Means To 'Sound Gay' : NPR

Contents:

• IS THERE A “GAY VOICE”?
• THE GAY VOICE
• WHAT'S THE LK BETWEEN HOMOSEXUALY AND HAVG A 'GAY VOICE'
• GAY GAY HOMOSEXUAL GAY / I CAN STILL HEAR HIS VOICE
• MY GAY VOICE AND YOURS
• WHAT MEANS TO ‘SOUND GAY’
• GAY VOICE: STABLE MARKER OF SEXUAL ORIENTATN OR FLEXIBLE COMMUNITN DEVICE?
• "DO I SOUND GAY?"
• MY GAY VOICE
• OP-ED: GAY VOICE IS RUG LIV
• FILMMAKER AND SPEECH PATHOLOGIST WEIGH IN ON WHAT IT MEANS TO 'SOUND GAY'
• ‘GAY VOICE’

IS THERE A “GAY VOICE”?

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This gay actor, who also worked closely wh Barack Obama as a member of the Advisory Commissn on Asian Amerins and Pacific Islanrs, has had a solid voice actg reer, cludg starrg as Sanjay Nickeloon’s Sanjay and Craig. That wasn’t all that surprisg, eher, but what did stick wh me was the fact that Sailor Moon, and other anime, had portrayals of queer characters who weren’t jt si characters, who weren’t nstantly bullied for beg gay, who were seen as assets to the team, and whose story didn’t end tragedy.

Stay ahead of the trend fashn and beyond wh our ee weekly Liftyle Ed newsletterStay ahead of the trend fashn and beyond wh our ee weekly Liftyle Ed newsletter After a particularly bad break-up, David Thorpe, a journalist who’s his forti, cid to take his md off thgs by leavg his ts his Manhattan apartment and drowng his sorrows at a gay beach town on Fire Island. ”It was the start of a four-year journey of self-disvery durg which Thorpe tried to figure out his so-lled “gay voice”: when did he start talkg that way, what ed , how exactly did sound, and, fally, what was so wrong wh anyway? In the panel foreground, the character Yugi Muto remembers the character Pharaoh Atem, sayg, "I n still hear his voice…" In the eded background, Atem says, "Gay gay homosexual gay, " creatg the imprsn that the memory of Atem is mockg Yugi.

THE GAY VOICE

I put together a short documentary about how actors--pecially men, whether they are gay or straight--are nsired by stg directors to have failed the send they “sound gay” (meang their voice do not nform to heteronormative stereotyp of masculy). As long as there is an unchecked cultural phobia of “gay voic, ” --by which we really jt mean effemate male voic--we are all nmned to a PTSD-like state of hypervigilance, too aaid to blur the l of genr, our voic or any other area of our liv. It rais a plited discsn about gay pri, lgerg homophobia, disguised misogyny, and the extent to which we all alter the image that we prent to the the film begs, Thorpe is disturbed bee he realiz he don’t like his voice any more.

WHAT'S THE LK BETWEEN HOMOSEXUALY AND HAVG A 'GAY VOICE'

But so dog, v everyone to thk about what their own voice says about who they are, where they me om, and where they want to science of “the gay voice”To start wh, the stereotypil “gay voice” isn’t necsarily a study published 2003, Ron Smyth, a lguist at the Universy of Toronto, found that participants readily separated rerdgs of 25 diverse voic to those who “sound gay” and those who “sound straight. In Smyth's study, people rrectly gused a man’s sexualy about 60 percent of the time, only a ltle better than another small study at the Universy of Hawaii, both gay and straight listeners were equally as likely to misclassify people as gay or straight.

In fact, the straight men wh so-lled gay voic weren't aware that people thought they sound gay at turns out that what most people perceive as a stereotypil "gay voice" is jt a male voice that sounds more stereotypilly feme -- maly, higher pched and more melod.

GAY GAY HOMOSEXUAL GAY / I CAN STILL HEAR HIS VOICE

And that often has more to do wh the voic that a person intified wh as they grew up, rather than and other rearchers say some men, both gay and straight, velop more feme voic bee they are fluenced by women when they are young. If you've ever found yourself talkg to someone wh a different accent and gradually emulatg them, you're faiar wh the gay men, adoptg what's lled "mp" -- a theatril gay accent, like an old-school starlet -- n be a way of embracg their inty. However, the difference wasn’t the stereotypil “gay voice, ” but a tenncy to e a more ntemporary, pan-Amerin accent, rather than the old-fashned Mnota accent (like  the movie “Fargo") says that the gay men he terviewed may have wanted to nvey an inty that is more stylish and cuttg edge.

MY GAY VOICE AND YOURS

” shows that even men who are out and proud may still rry wh them some shame about havg a stereotypil “gay voice, ” even if those feelgs are Savage, a gay activist and thor, argu  the film that this is a natural nsequence of boys beg bullied for walkg and talkg a certa way when they are young. As Thorpe pots out the film, there have long been public entertaers or artists wh stereotypilly “gay voic” – Liberace or Tman Capote, for example -- but few people openly talked about their when characters wh “gay” mannerisms or voic appeared popular culture, they were sometim d wh negative or sid the 1940s on, Amerin film saw the rise of a sni, supercil, and vaguely gay villa, startg wh the manipulative Clifton Webb the tective noir film “Lra.

” That tradn of the effete, aristocratic villa has lived example, film historian Richard Barrs argu  the film that many of the Disney villas have simperg voic or mannerisms that are subtly – or not so subtly – stereotypilly gay, cludg Prce John "Rob Hood, " Sr "The Ln Kg, " and many more, In an terview, Thorpe poted out what he viewed as one particularly egreg example – the bad guy the 2012 Disney animated film “Wreck-It Ralph.

In Study 1 (n = 20 speakers, n = 383 Italian listeners and n = 373 Brish listeners), g a simulated nversatn paradigm, we found that gay speakers modulated their voic pendg on the terlocutor, soundg more gay when speakg to a person wh whom they have had an easy (vs. Through a seri of terviews and teractns wh Thorpe’s iends and relativ, a few celebri, and random strangers on the streets, we hear a spectm of perspectiv about what “sounds gay” and why soundg as such is perceived as bad.

WHAT MEANS TO ‘SOUND GAY’

Many of the gay men the film adm to beg que fortable wh the sounds of their voic, not fully unrstandg why Thorpe would feel so strongly about his voice that he would even vis a speech pathologist and a celebry vol traer to get rid of his “gay voice. As psychology profsors and rearchers, the first thg that popped to our mds while watchg the film was the ncept of ternalized opprsn, particularly ternalized homophobia* (please see note below about the term “homophobia”), which may be fed as the negative attus that LGBTQ people have about themselv bee of their sexual orientatns. In this regard for our LGBTQ brothers and sisters, rearch suggts that people velop ternalized homophobia bee they learned that beg different or genr nonnformg was bad (om their fai, iends, society general) and so they also learned not to love themselv.

GAY VOICE: STABLE MARKER OF SEXUAL ORIENTATN OR FLEXIBLE COMMUNITN DEVICE?

Rearch suggts that opprsn— this se homophobia or heterosexism—n be ternalized so eply that even those of who are most aware, most cril, and most “liberated” (or “lonized” as some other margalized peopl may refer to ) may still be affected by . *Note: Instead of “homophobia, ” some folks may e the term “heterosexism” – and this se “ternalized heterosexism” – which has been argued to be a more appropriate term given that anti-LGBTQ prejudice is not jt an dividual-level, clil-soundg problem (as the term “phobia” impli), but is also a wispread form of opprsn that is rooted our culture, society, and stutns.

Gay people so often fear other gay voic, voic we nnot ntrol reprentg our shared experienc and world, but bee so much is unsaid, we also hunger for our world to be scribed wh granur, wh men don’t like art about beg gay. Thorpe -- who sounds like my ceased nana a good mood -- wrangled a who's who of the LGBT world to discs how their gay voic reverberate their 's what our in of posure and grace, Project Runway's Tim Gunn, says: "I'm ed to hearg my voice now. On Thorpe's gay iends also stgglg to accept their voic Thorpe: One of the revelatns of makg this film was that this is somethg that had always bothered me and every time, basilly, I talk to a gay man I would fd out that he also had eher spent a lot of time thkg about his voice or ed to be self-nsc about his voice or still felt self-nsc about his voice.

Wh this bate, Vasilovsky (2018) cricized gaydar rearch for nceptualizg sexual orientatn cu mostly as “static” and “nate” rather than as “dynamic” munitn addrs this cricism, we foc here on a cue that may have some relatively stable featur, but that is also known to be open to modulatn, namely voice. We will exame whether voice is a fixed enty and whether gay and straight speakers modulate their voic strategilly or spontaneoly le wh their munitive tent and wh the social ntext, so as to eher emphasize or mimize their sexual orientatn. When judged on the basis of voice alone, gay speakers are generally perceived as (relatively) ls heterosexual than straight speakers, but they still tend to be systematilly misclassified as heterosexual, suggtg that heterosexualy is the flt rponse (Smyth et al., 2003; Sulpiz et al., 2015, 2020; see Lick & Johnson, 2016, for this straight tegorizatn bias) lerature has also examed the actual atic cu that distguish gay and straight speech styl.

"DO I SOUND GAY?"

Overall, the lerature nfirms that some voice characteristics are stereotypilly associated wh homosexualy and/or femy/masculy (see Kachel, Simpson, & Steffens, 2017; Kachel et al., 2018b) and that listeners are not only fluenced by actual atic differenc but also rely on stereotypil cu when formg an imprsn of the speaker (Munson, Crocker, Pierrehumbert, Owen-Anrson, & Zucker, 2015) few exceptns, rearch on dory gaydar has nceptualized gay and straight voice as a relatively stable characteristic of the speaker and, hence, has foced on habual ways of speakg. Rearch on sexual orientatn modulatn (Ambady & Hallahan, 2002; Sylva, Rieger, Lsenmeier, & Bailey, 2010) has shown that gay dividuals are able to exaggerate and partially nceal their sexualy, pecially if they are not a gnively mandg suatn (Sylva et al., 2010).

Th, prr rearch has foced on variatn between rather than wh speakers, although there are a few notable has been suggted that gay speakers may specifilly mimize or emphasize the stereotypil atic cu scribed above to nceal or signal their sexual orientatn (Kachel et al., 2018a; Zwicky, 1997; see also Zimman, 2013). Crist (1997) observed a systematic lengtheng of (some) onset nsonants when four gay and two straight speakers were asked to read a text a “queeny” (flamboyantly effemate), rather than an “ordary, ” voice, suggtg that both straight and gay men were able to modify their voic.

The only exceptn to this is reprented by a study showg that gay men dislikg the ia of soundg gay avoid engagg gay stereotypil speech and, th, were ually perceived as heterosexual (Mann, 2012) is some evince that gay dividuals may, to some gree, be able to nceal their sexual orientatn, but only when talkg about general topics (Sylva et al., 2010).

MY GAY VOICE

Th, remas to be seen whether gay speakers modulate their voic pendg on ntext and terlocutor and whether such voice modulatn is succsful exprsg or ncealg sexual and Overview of RearchIn le wh the ia that voice signals social tegory membership (Posva & Callier, 2015), our voice sexual orientatn modulatn hypothis poss that speakers flexibly adopt stereotypilly gay/lbian vs. As a nsequence, speech styl signalg a gay tegory membership should maly be adopted wh people who are aware of the speaker’s sexual orientatn and who had reacted posively to their g out (Lville, 1998; Munson & Babel, 2007), but gay speakers may mimic straight speech styl wh unaware or unacceptg teractn vtigate whether gay speakers spontaneoly modulate their voic to reveal or disguise their sexual orientatn, we nducted a simulated nversatn study which gay men imaged talkg to terlocutors wh whom they had e out easily, wh difficulty, or had not me out at all.

In le wh our voice modulatn hypothis, we hypothized that the voic of gay speakers will sound more gay when talkg to others wh whom they had easily e out than when talkg to people wh whom they had not e out or wh whom they have had a difficult disclosure experienc. Gay speakers were asked to image to talk to (1) a receiver wh whom they had not e out and wh whom they would not feel fortable to e out (no g out), (2) a receiver wh whom they had e out and who had reacted a posive way (easy g out), and (3) a receiver wh whom they had e out but who had reacted a negative way (difficult g out). After listeng to each rerdg, participants were asked to rate the speaker’s voice by pletg a measure of voice genr typily (om 1 = pletely feme to 7 = pletely mascule) and of voice gayns (om 1 = pletely heterosexual to 7 = pletely homosexual), after havg listened to the three rerdgs, participants gused the speaker’s sexual orientatn (om 1 = pletely heterosexual to 7 = pletely homosexual, wh the sle midpot labeled “bisexual”).

OP-ED: GAY VOICE IS RUG LIV

In le wh prev studi on dory gaydar (Sulpiz et al., 2015, 2020; Valentova & Havlíček, 2013) and on the straight tegorizatn bias (Lick & Johnson, 2016), sexual orientatn means were overall low and below the midpot of the sle for both gay and straight speakers (all ts < − 5. The fdgs nfirm the well-tablished straight tegorizatn bias, namely the tenncy to tegorize both straight and gay speakers as “straight” although to different gre (Alt, Lick, & Johnson, 2020; Lick & Johnson, 2016; Sulpiz et al., 2015). The gay speakers’ voic sound more gay and more genr atypil to the ears of our listeners when speakers simulated an teractn wh an terlocutor who had reacted posively to their g out than when the teractn volved someone who was unaware of their sexualy.

Straight men are particularly ncerned about beg seen as gay or genr atypil bee this n trigger negative nsequenc for them and their stat (see Prewt-Freilo & Bosson, 2008; Vanllo, Bosson, Cohen, Burnaford, & Weaver, 2008). Together, our first study nfirms the ia that gay speakers modulate their voic so as to sound more genr typil and ls gay when talkg to people wh whom they had not e out pared to those wh whom they had had an easy g out. To le out this possibily, we nducted a send study that allowed to vtigate voice modulatn as a functn of g out, while holdg dience characteristics orr to exame whether voice modulatn gay men is a specific nsequence of g out, gay speakers Study 2 were teractg wh the same dience, namely the general public.

G., sentenc read out loud), this method gave the possibily to exame listeners’ perceptn based on spontaneo expected that the voic of gay speakers would sound ls genr typil and more gay after than before g out, but no differenc over time were predicted for the straight speakers (Hypothis 1).

FILMMAKER AND SPEECH PATHOLOGIST WEIGH IN ON WHAT IT MEANS TO 'SOUND GAY'

Th, this study allowed to further exame the ia that voice is not a stable marker of sexual orientatn, but a flexible inty management vice, ed by gay speakers to strategilly (although not necsarily liberately) disclose or disguise their sexual orientatn. After listeng to each d rerdg, participants pleted the voice genr typily and voice gayns measur and gused the speaker’s sexual orientatn on the same 7-pot sl of Study, participants gused how many different speakers they had listened to (om 1 to 10) and dited whether they had regnized any of them as someone they knew. As shown Table 1, straight speakers’ voic were perceived as creasgly genr typil over time, whereas an oppose trend was observed for gay speakers, whose voic sound ls genr typil after than before g 1 Mean (SD) of voice genr atypily, voice gayns, and perceived sexual orientatn as a functn of speaker sexual orientatn and time (Study 2)Full size tableOverall, the voic of both gay and straight speakers across ndns were perceived as rather genr typil (ts > 13.

1 (top) and Table 1, and le wh Hypothis 1, the voic of gay speakers were perceived as more gay after than before g out, whereas the oppose pattern was found for straight 1Means of perceived voice gayns (top) and speaker sexual orientatn (bottom) as a functn of time (Study 2). Note Higher valu mean greater gayns of voice (middle) and greater gayns of speaker (bottom), all asssed on sl om 1 to 7Full size imageIntertgly, the three-way teractn between speaker sexual orientatn, time, and listener sexual orientatn was signifint, F(2, 602) = 4. Regardls of time, straight speakers were always perceived as clearly straight (that is below the sle midpot), whereas gay speakers were perceived as clearly gay soundg and on the “gay” si of the ntuum (that is signifintly above the sle midpot) only after their g out.

CorrelatnsGenr atypily ratgs showed small but signifint rrelatns wh voice gayns and perceived speaker sexual orientatn at all three pots time and for both gay and straight speakers, wh rrelatns rangg om r(309) = −.

‘GAY VOICE’

In eher se, the fact that the voic of gay speakers velop the oppose directn be even more also found that heterosexual listeners perceived a change over time how gay the speakers sound, whereas sexual mori perceived gay speakers nsistently as gay soundg.