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Copyright by Kimberly Adele Kattari 2011 The Dissertation Committee for Kimberly Adele Kattari certifies that this is the approved version of the following dissertation: Psychobilly: Imagining and Realizing a “Culture of Survival” Through Mutant Rockabilly Committee: ______________________________ Robin Moore, Supervisor ______________________________ Veit Erlmann ______________________________ Martha Menchaca ______________________________ Karl Miller ______________________________ Sonia Seeman Psychobilly: Imagining and Realizing a “Culture of Survival” Through Mutant Rockabilly by Kimberly Adele Kattari, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many wonderful people. I’ll never forget the day when David Levee suggested I check out a Nekromantix show in Austin, TX. During the show, as I watched Kim Nekroman lick the Jägermeister off his coffin bass while thudding away at the mutant rockabilly- punk hybrid creation with ridiculous speed, I knew then and there that psychobilly would have to be the subject of my doctoral research. I did not know at the time that I would come to meet some of the most remarkable people in my life as a result of engaging in this research. I am very grateful to the hundreds of musicians, fans, and retro-philes that shared their interests, opinions, stories, and time with me. There are too many to list here, so please know that each and every one made a significant impact on me and contributed to this product. Many are named in Appendix B on page 309-10. Frank, Jorge, Xavier, Brian, Betty Elle, and Jason – I couldn’t have written this without you. Thanks for the conversation, dances, laughs, drinks, burgers, hugs, and memories. I’d also like to express my gratitude to my dissertation committee members Sonia Seeman, Veit Erlmann, Martha Menchaca, and Karl Miller for their wisdom, advice, and support. Committee chair and advisor Robin Moore tirelessly offered editorial and critical suggestions throughout the draft process, and I am thankful for his keen eye and encouragement. My dissertation research and writing would not have been possible without the support of the University of Texas and the William S. Livingston Graduate Fellowship. iv Of course, thanks to all my friends without whom I could not have done this. I am especially thankful for Sidra Lawrence, Melanie Morgan, Ryan McCormack, and Kathryn Metz, for we were able to support and sympathize with each other throughout the dissertation process as we experienced typing pains, sleepless nights, and anxiety- ridden mood shifts. Thanks too to Jamie Freedman for listening, commiserating, and encouraging. Finally, thanks are due to my family for not giving up on the long PhD marathon. Thanks, Dean and Dave for encouraging me to stick up for what I want to say and how I want to write, and for suggesting I take a machete to the doctoral defense. Luckily, I didn’t need it. Jan and John, thanks for making me the person I am, and for agreeing that going to bars late at night and talking to psychobillies was a worthwhile use of my time and academic training. I know it’s not easy to explain that your daughter has a PhD in “ethnomusicology” and even harder to explain that my dissertation is about “psychobilly.” So thank you for doing so with such pride and happiness. v Psychobilly: Imagining and Realizing a “Culture of Survival” Through Mutant Rockabilly Kimberly Adele Kattari, Ph.D. The University of Texas at Austin, 2011 Supervisor: Robin Moore Identifying simultaneously with the cool 1950s greaser, the punk rebel, and the zombies, murderers, and monsters of horror lore, psychobillies (“psychos”) cobble together an identity that expresses their subcultural subjectivity. They construct and cultivate an alternative present, a participatory culture that offers multiple strategies for relieving the pressures of working-class life, for experiencing pleasure despite hardship. As one research participant put it, “psychobilly is a culture of survival.” This dissertation explores the interwoven, multiple reasons why musicians and fans identify with this alternative, underground culture, tracing the integral role it plays in their lives and the ways in which psychobillies creatively reconstitute aspects of the cultural past in the present. I focus on the advantages that a tight-knit social community confers and on the ways in which various fantasies and lived practices provide transcendental escape as well as feelings of control and power. My research draws both from a long line of cultural studies and from more recent trends in popular music scholarship that focus on musical vi meaning in everyday life. Accordingly, I employ an ethnographic writing style that privileges the multiple voices and identities of my research associates. vii TABLE OF CONTENTS List of Figures …………………………………………….………………………. ix List of Referenced Tracks ………………….………………………………….. xi Prologue: A Note About Stylistic Approach: Story-Telling, Representation, Reflexivity, and Many Truths ……………………………………………………… 1 Chapter One: Introduction – The Meaning of Music in Everyday Life: Psychobilly As Identity and Survival ……………………………………………… 6 Chapter Two: Psychobilly Bricolage: Rebellion, Entertainment, Identity, and Pleasure ……………………………………………………………………….. 56 Chapter Three: Subverting the Supercultural Zombie Narrative: Psychobilly Zombies and the Pleasures of Undeath ……………………………… 136 Chapter Four: Building Community: Communitas and Social Capital …………… 172 Chapter Five (An Interlude): Latinos in Psychobilly: Rewriting and Reviving Rockabilly History ………………………………………………………………… 211 Chapter Six: Housewives, Sex Slaves, Bettie Page, and Getting Horny in a Hearse: Representations of Gender and Sexuality …………………….………………..…. 222 Chapter Seven: Conclusion – Making The “World” of Psychobilly: Constituting a Better Life …………………………………………………….…… 284 Appendix A: “One Piece At A Time” Lyrics …………………………………….. 307 Appendix B: Interviews …………………………………..………………………. 309 Works Cited ……………………………………………………………………….. 311 viii LIST OF FIGURES 1. “The Psychobilly Cadillac” …………………………………………….……… 60 2. P. Paul Fenech from The Meteors, spitting chicken blood ………………..…… 106 3. Vic Victor from Koffin Kats, bleeding ………………………………………… 106 4. Pip Hancox from Guana Batz, sweating during performance ……………..…… 106 5. Kim Nekroman from Nekromantix, licking microphone ………………….…… 106 6. Brett Black from Three Bad Jacks, playing a fiery bass …….…………….…… 109 7. Kim Nekroman, using a nonconventional hand position on upright …………… 109 8. Brett, balancing on upright …………………………………………………….. 109 9. The Creepshow, demonstrating performative uses of the upright ……..…..…… 109 10. Vic Victor, playing upright behind his head ……………………………..…… 110 11. The Quakes, playing the bass with drum sticks …………………………..…… 110 12. Xavier from Hotrod Hillbillies, using a beer bottle slide ………..……….…… 110 13. Kim Nekroman, fretting his guitar with his tongue …………………………… 110 14. Album over of The Meteors’ These Evil Things ……………………………… 127 15. Gamblers Mark flyer with “Frankenstein” on upright bass …………………… 127 16. The Mutilators, performing in fake blood ……………………………………… 128 17. Cold Blue Rebels press photo ………………………………………………… 130 18. Fiesta Psychobilly flyer, zombies ……………………………………………… 157 19. The Zombie Hop flyer …………………………………………………….…… 157 20. Flyer for Tony Slash’s Birthday Bash, zombies ………………………….…… 157 21. Album cover for Rebels of Rock’n’Roll compilation, zombies ……………….. 157 22. Flyer for “Hoedown From Hell: Helloween Spooktacular,” zombies ………… 158 23. “Psyko-Zomby” designed by Hilary Jane ………………….………………….. 158 24. Flyer for a Pickled Punks show, vacationing zombies ………………….…….. 158 25. Album cover for The Rocketz’ Rise of the Undead ………………….………… 158 26. “Zombie Elvis” tattoo by Miss Kitty ………………….………………….…… 163 27. “Zombie Elvis” ceramic bust by Miss Lucky Hellcat ………………….……… 163 28. Couple dressed up as zombies as “Pub of the Dead” ………………….……… 164 ix 29. Tony Slash dressed up as a zombie for “Pub of the Dead” ……………………. 165 30. Psychobilly zombie design by Opergeist ………………….…………………… 169 31. Nekromantix logo, undead giving the finger ………………….……………… 171 32. Three Bad Jacks flyer, zombie giving the finger ………………….…………… 171 33. The Rumble Cats ………………….………………….………………….…….. 186 34. Zombie Wrecking Crew ………………….………………….…………………. 188 35. Cinco de Mayo Fiesta flyer ………………….………………….……………… 220 36. Danny Gambler’s upright bass ………………….………………….………….. 220 37. “Rockabilly Barbie” ………………….………………….………………….….. 234 38. Album cover of The HorrorPops’ Hell Yeah! ………………….………………. 234 39. Rockabilly Magazine covers ………………….………………….…………….. 249 40. Event flyers depicting women ………………….………………….…………… 250 41. Bettie Page ………………….………………….………………….…………… 260 42. Melane from 13 Black Coffins ………………….………………….………….. 264 43. Psycho-betties ………………….………………….………………….………… 264 44. Bettie Page ………………….………………….………………….…………… 267 45. June Cleaver and Bettie Page ………………….………………….…………… 273 46. Pickled Punks logo ………………….………………….………………….….. 287 47. Dave Wolfe as “Frankenstein” ………………….………………….…………. 287 48. Texas Psychobilly flag flown in Iraq ………………….………………………. 297 49. Chop Tops logo ………………….………………….…………………………. 299 50. The Returners and Livends flyer, appropriating Re-Animator ………………… 303 x LIST OF REFERENCED TRACKS 1. “One Piece
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