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The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman

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The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES THE SOUTHERN ROCK MUSIC REVIVAL: IDENTITY WORK AND REBEL MASCULINITY By JASON EASTMAN A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 The members of the Committee approve the Dissertation of Jason Eastman defended on June 13th, 2007. Douglas Schrock Professor Directing Dissertation Andrew Opel Outside Committee Member Patricia Yancey Martin Committee Member Irene Padavic Committee Member Approved: Patricia Yancey Martin, Chair, Sociology David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................ v LIST OF TABLES............................................................................................................. vi ABSTRACT...................................................................................................................... vii INTRODUCTION .............................................................................................................. 1 CHAPTER 1: REVIEW OF LITERATURE.................................................................. 8 The Culture Industry................................................................................................... 8 Subculture ................................................................................................................. 14 Identity Work............................................................................................................ 16 CHAPTER 2: SETTING AND METHODS................................................................. 21 The Setting: The Southern Rock Revival ................................................................. 21 Defining the Population of Interest........................................................................... 23 Strategies of Data Collection .................................................................................... 29 Data Analysis Procedures ......................................................................................... 39 CHAPTER 3: CLAIMING ARTISTIC AUTHENTICITY.......................................... 40 Vilifying Commercialization .................................................................................... 42 Valorizing Southern Rock and Southern Rockers .................................................... 52 Southern Rock Saviors.............................................................................................. 62 Conclusion ................................................................................................................ 70 CHAPTER 4: RECLAIMING WHITE TRASH .......................................................... 71 Stigmatized Rural Poverty ........................................................................................ 71 Celebrating Rural Poverty......................................................................................... 72 Flying the Flag .......................................................................................................... 86 Conclusion ................................................................................................................ 92 CHAPTER 5: VICE AND SINFUL IDENTITY WORK ............................................ 94 Alcohol...................................................................................................................... 97 Rowdiness and Violence......................................................................................... 102 Drugs....................................................................................................................... 108 Sex........................................................................................................................... 114 Sin and the Devil..................................................................................................... 121 iii Conclusion .............................................................................................................. 127 CHAPTER 6: DISCUSSION...................................................................................... 128 Empowering Stigmatized and Marginalized Masculine Selves.............................. 129 The Implications of Rebel Masculinity................................................................... 133 Limitations and Future Research ............................................................................ 134 APPENDIX A: HUMAN SUBJECTS APPROVAL ................................................. 137 APPENDIX B: PARTICIPATION CONSENT FORM............................................. 138 REFERENCES ........................................................................................................... 139 BIOGRAPHICAL SKETCH .......................................................................................... 151 iv LIST OF FIGURES Figure 1-1: Tennessee Flag................................................................................................. 4 Figure 1-2: Wilderkin ......................................................................................................... 4 Figure 2-1: Hank III’s Ink................................................................................................. 27 Figure 2-2: The Rebel Razorback..................................................................................... 28 Figure 2-3: My Myspace Page.......................................................................................... 37 Figure 3-1: Bob Wayne’s Home....................................................................................... 55 Figure 3-2: J.B. Beverly & Wayward Drifters.................................................................. 63 Figure 4-1: Adam McOwen.............................................................................................. 74 Figure 4-2: Jescofest Flyer................................................................................................ 78 Figure 4-3: Jeff Clayton’s Rebel Flag Tattoos.................................................................. 87 Figure 5-1: Adopting the Pabst Blue Ribbon Logo .......................................................... 98 Figure 5-2: Drinking Like a Man in Texas ....................................................................... 98 Figure 5-3: Ruyter Suys of Nashville Pussy................................................................... 116 Figure 5-4: Nashville Pussy’s ‘High as Hell’ ................................................................. 117 Figure 5-5: Unknown Hinson’s MySpace Blog.............................................................. 126 v LIST OF TABLES Table 2-1: List of Informants and Bands .......................................................................... 30 Table 2-2: Southern Rock Albums ................................................................................... 34 Table 2-3: Southern Rock Internet Pages ......................................................................... 38 vi ABSTRACT Based on interviews with 30 southern rock musicians, a content analysis of their lyrics and web pages, and observations of their performances over a two year period, I analyze the construction of rebel manhood used by a group of under-educated, under- employed, marginalized, white, working-class men to empower their otherwise disempowered selves. My analysis shows how the musicians empower the self by glorifying a lifestyle of “drifting,” which involves traveling from city to city performing and overcoming the challenges of the open road. In their struggle to compete with a culture industry that produces popular music for mass audiences, southern rock musicians construct themselves as authentic and legitimate musical artists who exemplify and express the experience of a poor, rural, white American culture and rebel masculine identity. Southern rockers construct and signify this rebel masculinity using a variety of identity work strategies. They signify the self as both strong and independent through their ability to negotiate rural poverty with their hunting, fishing and faming skills— while at the same time they chastise the middle class virtues of family, education, work and religion as metaphorical prisons to which only the weak succumb. Rebelliousness is exemplified by southern rockers as they embrace and even celebrate the disgrace of rural poverty by revaluing labels used by the larger society to stigmatize the rural poor such as “hillbilly,” “redneck,” and “white trash.” They flaunt whiteness through display of the confederate battle flag. Another identity work strategy engaged by southern rockers to construct the rebel masculine self is through celebrating “sinning,” or drinking alcohol, using drugs, and having casual sex. However, these rebel masculine behaviors can also perpetuate the increasingly marginal status that white, working class men find themselves by reinforcing stereotypes that they are sexist, racist,
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