Eric Shorey, author of “Queer Rap is Not Queer Rap,” contests “queer rap” labeling, arguing that “comparisons between gay and straight rap (as if they were two distinct genres) simply doesn’t make sense without implied bigotry”. As Shorey writes, this subversive genre is steeped in racism and homophobia in and of itself, and merely serves to further marginalize the identities and narratives it allegedly gives a voice to. Though Western society has a predisposition to impose socially construed labels and binaries, Shorey dismisses the notion of heteronormative categorical identification, insisting that listeners ignore these sexuality-based hip hop classifications and listen more closely to the quality of music being produced. He also suggests that queer artists should be booked alongside straight artists, showing that they are equally talented, and deserve the same amount of recognition. Despite criticism, others have been more circumspect about the dichotomy. British rapper RoxXxan told the "Guardian" that "I want to be perceived as 'RoxXxan,' but if people label me as 'gay rapper RoxXxan' I'm not offended." Nicky Da B told "Austinist" that "Basically, I perform for a LGBT crowd but also for everyone. A lot of the bounce rappers that are rapping and touring at the moment are all gay. The LGBT community just capitalizes on that I guess, from us being gay, and they support us on it, so that's how it goes I guess." Another criticism arises from the perceived commercialization of LGBTQ representation by hip hop artists. A good example of this is with Nicki Minaj and her approach to presenting sexuality and sexual orientation. She often presents queerness in her music videos and lyrics. A notable moment was during her Vladtv interview where Nicki was asked how a man should approach her. She deflects and diverts to her love for women, saying "I like girls to approach me". At the same time Nicki has never explicitly confirmed queerness and has only publicly been associated with male significant others, lending her sexual orientation further ambiguity. This approach has been analyzed by critics of Nicki as strategic queerness and is often rejected by queer advocates as a performance, and is controversial because it may appear to be appropriative for commercial gain.