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Performing Folk Punk : Agonistic Performances of Intersectionality Benjamin D Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Performing folk punk : agonistic performances of intersectionality Benjamin D. Haas Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Haas, Benjamin D., "Performing folk punk : agonistic performances of intersectionality" (2013). LSU Doctoral Dissertations. 798. https://digitalcommons.lsu.edu/gradschool_dissertations/798 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PERFORMING FOLK PUNK: AGONISITIC PERFORMANCES OF INTERSECTIONALITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical ColleGe in partial fulfillment of the requirements for the deGree of Doctor of Philosophy in The Department of Communication Studies by Benjamin D. Haas B.S., Drury University, 2007 M.A., Southern Illinois University, 2010 AuGust 2013 ACKNOWLEDGMENTS I want to thank my advisor, Tracy Stephenson Shaffer, for all her labor in GettinG me throuGh this process, her never endinG encouraGement, her patience with an at times difficult advisee, and her participation in our epic conversations. Thanks to my committee members Patrica A. Suchy and Laura Mullen for their guidance in my coursework and this document. I want to thank my dean’s representative Seth OrGel for takinG the time to read my work and attend my eXamination. Thank you to my Baton RouGe cohort: Travis Brisini, Sarah Jackson-Shipman, Raquel Polanco, Ari Gratch, Lyndsay Michalik, Danielle McGeouGh, Brianne Waychoff, Mollye Deloach, Micah Caswell, Emily Graves, Jade Huell, Holley VauGhn, Rebecca Walker, Mike Rold, Wade Walker, Brian Leslie, Derek Mudd, and Lisa FlanaGan. Thanks to my eXtended cohort: Jake Simmons, Joe Hassert, Charlie Parrott, Chris Collins, Erin Briddick, Nichole Nicholson, Sam Sloan, Lindsay Greer, Nico Wood, Kyle Cheeswright, and Andrea Baldwin. I want to especially thank Craig Gingrich–Philbrook for his seeminGly endless support and friendship. Also, my dear friend Scott Kirchner for his joy and sharing with me a bit of his adventure filled life. Thank you to my family: Mom, Dad, and Lindsay for their endless support and encouraGement throuGh this long and winding journey. I could not have done it without all of you. ii Finally, Jessi Stafford, thank you for being a part of this project, for living throuGh it, for the hours on the couch, for always tellinG me it was Great, and for your unconditional love. I love you so very much. iii TABLE OF CONTENTS ACKNOWLEDGMENTS ........................................................................................................................... ii ABSTRACT .................................................................................................................................................. vi CHAPTER ONE: THE OPENING ACT...................................................................................................1 What is Folk Punk?.......................................................................................................3 Music and Performance Studies…………………………………………………….10 ListeninG……………………………………………………………………………………...16 Intersectionality………………………………………………………………………......24 Chapters Preview…………………………………………………………………………28 CHAPTER TWO: INKY SKULLS: PERFORMING AT THE INTERSECTION OF RACE AND CLASS .............................................................................................................................30 Punk Music and Race……………………………………………………………………38 Folk Music and Race……………………………………………………………………..53 Folk Punk and Class……………………………………………………………………...55 Conclusion……………………………………………………………………………….......63 CHAPTER THREE: PUSSY RIOT!: PERFORMING AT THE INTERSECTION OF WOMEN AND NONHUMAN ANIMALS............................................................................................65 BecominG-Woman……...……………………………………………......……………….71 BecominG-Animal……………………………………………………………..…………..75 BecominG-Music…………………………………………………………….…….……….81 Punk and Women…………………………………………………………………………82 Folk and Women…………………………………………………………………………..86 Folk Punk and Animal RiGhts……………………………………………………...…88 Conclusion……………………………………………………………………………………91 CHAPTER FOUR: AGAINST ME!: PERFORMING AT THE INTERSECTION OF ANARCHY AND QUEERNESS ..............................................................................................97 Anarchism………………………………………………………………………………….102 Queerness……………………………………………………………………………….....108 Terrorists………………………………………………………………………….…...…..114 Conclusion………………………………………………………………………………....122 CHAPTER FIVE: NO ENCORE...........................................................................................................127 Agonistic Performance..........................................................................................131 Performative Utopia...............................................................................................134 Punk as a Social Movement.................................................................................136 The Performances...................................................................................................141 Conclusion..................................................................................................................145 iv WORKS CITED....................................................................................................................................... 147 VITA .......................................................................................................................................................... 155 v ABSTRACT The overarchinG Goal of this project is to arGue that folk punk performances offer spaces where a listening audience is exposed to a radical and intersectional politics, and enable that audience to identify with those views. By considering the performances of Inky Skulls, Pussy Riot!, and Against Me!, this study looks to the ways in which these folk punk eXemplars hiGhliGht elements of the radical politics of the American left and in the history of folk and punk music. In particular, this project considers the intersections of race and class, women and nonhuman animals, and queerness and anarchism, as intersectinG points of ideoloGical convergence. The secondary goals of this project are two-fold. The first aim is to articulate a performative approach to folk punk music, as a scene worthy of academic consideration. The second aim is to consider the ways in which my personal experiences at folk punk shows highlight the idiosyncratic and utopian ways in which small performatives in the genre shape the identities of audience members and fans. vi CHAPTER ONE: THE OPENING ACT “I am an anti-Christ / I am an anarchist / Don’t know what I want but I know how to get it.” The snarled lyrics of Jonny Rotten rang out over the cold morning speakers of a Midwestern record store to the almost instantaneous rebuke of the manager: “Turn that shit off, and play the Morning Mix.” My teenage self had just discovered the Sex Pistols’ Never Mind the Bullocks in a bargain bin earlier that week and I could not stop listening. Never Mind the Bollocks captured my anger, my rage, and my knowledge that leaving Poplar Bluff, Missouri was the answer to an amorphous dream life. I have always felt different from my peers, not better, but definitely different. This perceived difference manifested itself in a deep sense of isolation and Otherness. The line about being an “anti-Christ” in the context of the “Bible Belt” struck just the right chord with me and helped me to understand what I did not want from my life. After playing the CD before opening the store that morning, I could not get the songs out of my head, and in fact, “Anarchy in the UK” still has that effect on me when I listen to it. However, listening to punk was not easy to do in rural Missouri in the early 2000s. No one I knew liked punk music or anything other than the corporate radio rock of the time. I wish I could say I saw a great punk show or I read a zine and that is what got me into punk, but that is not true. The full voiced cliché of a Sex Pistols CD pulled me in. Things have changed since then. Punk now enjoys a popular resurgence. From the pop punk of Blink 182 to the fashion industry and Hot Topic stores, punk seems to be everywhere these days. I will not address the debates regarding whether or not these artifacts are really “punk” in this document. The last thing I wish, perhaps on the earth, is to 1 become that kind of authoritarian on culture. Instead, I consider why punk has recently reappeared in such a ubiquitous way. My musical taste has never been one-dimensional. Working in the record store really opened my ears, though I had a pretty good grounding in classic rock from my father. My dad listened to lots of music from the 1960s and 1970s: The Beatles, The Rolling Stones, Pink Floyd, The Doors, and Bob Dylan, to name a few. For my purposes, I will spare anecdotes of the listening sessions we had at my father’s bicycle shop, but there were many. I remember hearing Bob Dylan in particular, his voice dragging out the ends of his words. I thought it sounded silly at first,
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