Imagine: You are at a dimly lit house show, the air dense with the aroma of incense and the low hum of an old amplifier. A silhouette appears out of the darkness, wearing a graphic tee and baggy jeans, a beanie resting on top of his head. With a smirk and in a condescending tone, he asks if you have heard the latest “underground” band. In the digital age, this stereotype of the cocky “music bro” has taken on a new twist — he is the “male manipulator,” with his music serving as the soundtrack to his alleged schemes.

In the modern era of hyper-digital self-expression, this profile, representative of a meme-fueled caricature, is now being analyzed via a new cultural lens: “male manipulator music.” What began as a joke or parody has developed into a pervasive label that aims to characterize entire genres of music and their listeners. But, as we explore this sonic minefield, it is worth considering whether this title enriches or distorts our understanding of art and individuals who like it.

At its core, “male manipulator music” is a reductive label that unjustly narrows the diverse and colorful experiences of both artists and listeners into a blanket, damaging stereotype. The notion that certain genres or artists can be neatly folded and categorized into “manipulative” and “non-manipulative” boxes is not only misguided but also perpetuates harmful stereotypes about both music and the people who enjoy it.

The term is problematic for a variety of reasons. First of all, it muddles listeners’ personalities and behaviors with the music itself. It is unfair and irrational to assume that a person’s musical preferences — whether it be Radiohead, The Weeknd or The Smiths — somehow reflect a tendency for manipulating behavior. Music reflects a wide range of human experiences and emotions; it is not a personality test. The idea that one’s favorite band or genre is inherently manipulative is a prime example of reductive thinking.

Furthermore, this classification is a part of a larger movement in which music is evaluated based on its perceived effect on morality and behavior rather than its artistic value. With 18.6 million views on TikTok, the hashtag #MaleManipulatorMusic frequently contains content that makes fun of or scrutinizes people based on their taste in music. This trend not only trivializes important issues like toxic and abusive relationships, but it also misrepresents the relationship between music and personal identity. When specific musical genres are linked to negative attributes, it sets a risky precedent in which art is evaluated based on how it is perceived by the audience rather than the work’s merits.

The reductionist method used to label entire genres or styles as morally problematic is one of the most alarming features of the “male manipulator music” issue. Consider bands that are usually on these playlists, such as Radiohead and Deftones. Although these bands are well-known for their reflective and oftentimes melancholy lyrics, this does not automatically make their music “manipulative.” The nuance and complexities of artistic expression are ignored by this broad classification. Music is a medium of expression that can be provocative, dreary or controversial without revealing anything about the listeners’ personalities. Labeling entire musical genres or performers in this way runs the risk of suppressing true artistic inquiry and limiting rich, varied musical landscapes to simple clichés. This is detrimental not just to the artists who create with depth and intention but also to the listeners who engage with music on a more personal level.

The tendency to identify specific music with particular personality traits or actions is more than just a cultural curiosity; it reflects a greater societal tendency to simplify and stereotype. By focusing on arbitrary criteria such as the music we like, we risk missing out on the more significant and diverse ways in which art interacts with our lives. Art helps us understand and express our emotions; it does not define who we are. Humans are complicated with diverse identities that cannot be reduced to a single dimension solely on music tastes.

Ultimately, even though it may be tempting to use the term “male manipulator music” as a shortcut for talking about problematic behavior, it ultimately falls short of capturing the complex, varied and multifaceted relationship that we have with music. By avoiding the desire to categorize and stereotype, we can create a more inclusive and appreciating culture that values artistic expression on its own terms. Let us celebrate music for its ability to move, challenge and inspire, rather than allowing it to become a weapon for judgment and division.