The study of places dedicated to urban cultures, and in particular current music, can contribute to a better sociological knowledge of “male” for at least three reasons that we will develop in this article. The first is their gender homogeneity (85 % men for current music practices, up to 100 % in skates parks and stadiums) and the fact that this homogeneity is obscured by the neutrality of the narrative that defines these places and their audience, allowing the sexual practices they contain to be hidden. The second is the spatial projection of this gender inequality, showing how these practices contribute to the creation of functional territorial ideologies linking urban cultures with a legendary universe of the city and its surrounding areas: the mythic territory of the suburbs therefore appears to be a functional place for the emergence of new male cultures and their spread throughout society. The third reason is that urban cultures frequently refer to ethnic and/or black cultures (jazz, rock, reggae, rap for music, hip-hop for dance, street basket and street sports for sport) while being practised and consumed by all population groups. The finding that ‘race’ colours gender (Dorlin, 2006) in these new male cultures makes it possible to assume that current music and urban cultures operate as ‘hierarchical operators’ (Latour in Welzer-Lang [2004], Ayral [2009]) on the dual register of gender and ethnicity, thus organising the systems of meaning needed for new forms of contemporary social and spatial regulation.