The article discusses the incorporation and gendering of alternative radio in the U.S. As gothic rock, new wave, and punk-inflicted alternative music entered the pop charts in the late 1980s and early 1990s, its distinctive trait was the cultivated display of androgynous masculinity: of men who feel and cry. From a feminist point of view, this mainstream alternative represented a kind of antisexist sexism. For all its conspicuous androgyny, that is to say, postpunk music culture was unbashedly dominated by male musicians, prone to appropriating feminity as a male aesthetic credential rather than to empowering women. While classification by age has long been a factor in commercial radio, sex/gender is a comparatively recent demographic emphasis. Here radio exemplifies a wider trend in which gender increasingly determines marketing strategies in publishing, television, movies, and various Internet-related media, and even on college campuses. The fact is that for corporate broadcasters, demographic coherence is often more important than the actual number of listeners, making a sexually divided music culture an enhancement to profits. Unsurprisingly, what results is a vicious cycle of sorts: the more sexual difference is emphasized, the more segregation occurs, thus justifying even further amplification of gendered norms.