Unpopular Culture: The Real Housewives, From Natural Disasters To 9/11, From Thesis Hatements

15 mm 15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm
T E L E V I S UA L C U LT U R E T E L E V I S UA L C U LT U R E
This collection includes eighteen essays that introduce the concept of
Lüthe and Pöhlmann (eds)

unpopular culture and explore its critical possibilities and ramifications
from a large variety of perspectives. Proposing a third term that operates
beyond the dichotomy of high culture and mass culture and yet offers a
fresh approach to both, these essays address a multitude of different topics
that can all be classified as unpopular culture. From David Foster Wallace
and Ernest Hemingway to Zane Grey, from Christian rock and country to
clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to
The Real Housewives, from natural disasters to 9/11, from thesis hatements
to professional sports, these essays find the unpopular across media and
genres, and they analyze the politics and the aesthetics of an unpopular
culture (and the unpopular in culture) that has not been duly recognized
as such by the theories and methods of cultural studies.
Martin Lüthe is an associate professor in North American Cultural Studies

at the John F. Kennedy-Institute at Freie Universität Berlin.
Unpopular Culture
Sascha Pöhlmann is an associate professor in American Literary History at
Ludwig-Maximilians-Universität Munich.
240 mm
Martin Lüthe and Sascha Pöhlmann (eds)
Unpopular Culture
ISBN: 978-90-8964-966-9
AUP. nl
9 789089 649669
15 mm
Unpopular Culture
Televisual Culture
The ‘televisual’ names a media culture generally in which television’s multiple

dimensions have shaped and continue to alter the coordinates through which
we understand, theorize, intervene, and challenge contemporary media culture.
Televisual culture is a culture which both encompasses and crosses all aspects
of television from its experiential dimensions to its aesthetic strategies, from
its technological developments to its crossmedial consequences. Concepts like
liveness, media event, audiences, broadcasting need recasting as problematics
around which the televisual will get interrogated within a dynamic media
landscape. Rather than accept the narrative of television’s obsolescence, the
series aims at seriously analyzing both the contemporary specificity of the
televisual and the challenges thrown up by new developments in technology
and theory in an age where digitalization and convergence are redrawing the
boundaries of media.
Series Editors:
Sudeep Dasgupta, Joke Hermes, Jaap Kooijman, Markus Stauff
Unpopular Culture
Martin Lüthe & Sascha Pöhlmann (eds)
Amsterdam University Press

Cover design: Coördesign, Leiden
Lay-out: Crius Group, Hulshout
Amsterdam University Press English-language titles are distributed in the US and Canada by
the University of Chicago Press.
isbn 978 90 8964 966 9

e-isbn 978 90 4852 870 7
doi 10.5117/9789089649669
nur 670
© The authors / Amsterdam University Press B.V., Amsterdam 2016
All rights reserved. Without limiting the rights under copyright reserved above, no part of
this book may be reproduced, stored in or introduced into a retrieval system, or transmitted,
in any form or by any means (electronic, mechanical, photocopying, recording or otherwise)
without the written permission of both the copyright owner and the author of the book.
Table of Contents
Introduction 7
What is Unpopular Culture?
Martin Lüthe & Sascha Pöhlmann
Why We Talk the Talk We Talk 31

On the Emptiness of Terms, the Processual Un/Popular, and Benefits
of Distinction—Some Auto-Ethnographical Remarks
Martin Butler
Big Fish 41
On the Relative Popularity of Zane Grey and Ernest Hemingway
Dominika Ferens
How (Not) to Make People Like You 61

The Anti-Popular Art of David Foster Wallace
James Dorson
Dissenting Commodities 81
Negotiations of (Un)popularity in Publications Critical of Post-9/11
U.S.-America
Elizabeth Kovach
Secrets, Lies and The Real Housewives 95

The Death of an (Un)Popular Genre
Dan Udy
Karaoke Americanism Gangnam Style 113

K-pop, Wonder Girls, and the Asian Unpopular
Jeroen de Kloet and Jaap Kooijman
‘When order is lost, time spits’ 129

The Abject Unpopular Art of Genesis (Breyer) P-Orridge
Florian Zappe
‘Famous in a Small Town’ 147

The Authenticity of Unpopularity in Contemporary Country Music
Christian Schmidt
Making Christianity Cool 169
Christian Pop Music’s Quest for Popularity
Bärbel Harju
Listening to Bad Music 187

White Power and (Un)Popular Culture
C. Richard King
Hipster Black Metal? 207

Deafheaven’s Sunbather and the Evolution of an (Un)popular Genre
Paola Ferrero
Unpopular Culture and the American Reception of Tinariwen 229

Barry Shank
Cultural Studies and the Un/Popular 241

How the Ass-Kicking Work of Steven Seagal May Wrist-Break Our
Paradigms of Culture
Dietmar Meinel
Unpopular Sport Teams and the Social Psychology of ‘Anti-Fans’ 259

Karsten Senkbeil
Popular, Unpopular 277

When First World War Museums Meet Facebook
Catherine Bouko
Unpopular American Natural Calamitiesand the Selectivity of

Disaster Memory 291
Susanne Leikam
The Unpopular Profession? 313

Graduate Studies in the Humanities and the Genre of the ‘Thesis
Hatement’
Sebastian M. Herrmann
Contributors 331
Index 337
Introduction
What is Unpopular Culture?
Martin Lüthe & Sascha Pöhlmann
It all started with Anal Cunt. That is probably neither a sentence you thought
you’d ever read in an academic text, nor is it one we thought we’d ever write
in one. But it is true anyway, and so this introduction has to start with it,
since what it is about started with it, too. One day, over the very unpopular
food in the cafeteria at the Amerika-Institut of LMU Munich, we compared
notes with some colleagues on what might be the most outrageous and of-
fensive music. No such discussion worth its salt can occur without reference
to Anal Cunt, a band who were very strong contenders for the disputed title
of ‘the most offensive band in the world’ until main member Seth Putnam
died in 2011. Abbreviating their own name to A.C. on album covers was
about the only concession the band ever made to the rules of the music
market or good taste. Their first EPs—such as the 88 Song EP and the 5643
Song EP—do not feature any song titles or even songs or lyrics that were
written before the recording process, and the music fully deserves the
‘noisecore’ label (a genre that has its roots in what could be considered a
classic of unpopular culture, Lou Reed’s 1975 album Metal Machine Music).
When Anal Cunt signed to the Earache record label, they discovered what
would become their trademark: while their short songs, usually under a
minute in length, never quite reached the musical excellence of grindcore
greats such as early Napalm Death or Brutal Truth, their song titles ensured
their place in the history of extreme music. Adolescent, nihilistic, ridiculous,
and (self-)ironic, Anal Cunt perfected the art of the titular insult, trying to
indiscriminately offend everyone, including their own fans, their record
label, other bands, any social minority or majority, and even themselves.
Their 1994 album Everyone Should Be Killed begins with ‘Some Songs’ and
‘Some More Songs’, but also already includes gems such as ‘I’m Not Allowed
to Like A.C. Any More Since They Signed to Earache’, ‘When I Think of True
Punk Rock Bands, I Think of Nirvana and the Melvins’ or ‘Selling Out by
Having Song Titles on This Album’. Their 1997 album I Like It When You Die
presents their trademark use of the second-person address in song titles
such as ‘You Keep a Diary’; ‘You Are a Food Critic’; ‘You Have Goals’; ‘You
Play On a Softball Team’; ‘You Go to Art School’; ‘Your Best Friend Is You’;
‘Your Favorite Band Is Supertramp’; ‘You Live in a Houseboat’; ‘You Are an
8 Martin Lüthe & Sascha Pöhlmann
Interior Decorator’; ‘You’re Old (Fuck You)’, ‘You (Fill in the Blank)’ and the
classic ‘Your Kid Is Deformed’, which is even a pretty good song. The next
album, Picnic of Love (1998), did yet another unpopular thing by offering
lyrics so sweet they make your teeth hurt just by reading them, with song
titles such as ‘Saving Ourselves For Marriage’; ‘Greed Is Something That We
Don’t Need’; ‘I Couldn’t Afford to Buy You a Present (So I Wrote You This
Song)’; or, ‘In My Heart There’s a Star Named After You’. Yet, the album that
followed, It Just Gets Worse (1999), turned out to have a prophetic title, and
with this record the band pushed things too far, for critics and fans alike.
Like many underground bands in extreme music scenes, their relative
popularity was heavily dependent on their cultivation of unpopularity,
with music that was too noisy and lyrics that were too offensive for most
people, pleasing those in the know who wish to irritate, if not shock others
with their taste in art (a phenomenon not limited to youth cultures, but also
found in high culture, perhaps exemplified best by Dadaism).
Yet, Anal Cunt managed to offend even those who enjoyed offending
others with their music, since the humor in their song titles became increas-
ingly questionable, going for a wholesale insensitivity toward anyone and
everyone by intensifying the homophobic, racist, and misogynist themes
that had been present before, and which had been somewhat accepted
as conforming to the rules of a transgressive genre by a heteronormative
scene that was predominantly white, male, and lower- to middle class.
With songs such as ‘I Sent a Thank You Card to the Guy Who Raped You’,
‘I Sent Concentration Camp Footage to America’s Funniest Home Videos’,
or ‘Laughing When Leonard Peltier Gets Raped in Jail’, the self-irony didn’t
seem to cut it anymore, and the limits of political correctness kicked in
with those who had previously enjoyed their violation with adolescent
rebellious glee. While the declaration that ‘Everyone in Anal Cunt Is Dumb’
might have added sufficient irony to make I Like It When You Die a joke
many people could laugh at, a similar move of stating that ‘Being Ignorant
Is Awesome’ was no longer enough to sustain the precarious balance, and it
was all downhill from there. Media such as the German Rock Hard magazine
stopped covering the band after main member Seth Putnam made some
particularly anti-Semitic statements, and the grindcore scene—which is
traditionally rooted in anarchism and still espouses (extreme) left-wing
values to a significant extent today—partly turned its back on Anal Cunt,
especially as Putnam collaborated with extreme right-wing bands. While
the band had always sought to be controversial, it was now controversial
in the very scene that has always espoused an aesthetics and politics of
provocation and controversy, and it thus uncovered some of the rules of
Introduc tion 9
transgression in a transgressive discourse.1 True to form, Anal Cunt refused

to rescind their provocations and return to the limits of the acceptable
on later albums, declaring ‘I’m Glad Jazz Faggots Don’t Like Us Anymore’
while throwing out songs such as ‘Ha Ha Holocaust’ or ‘Even Though Your
Culture Oppresses Women, You Still Suck You Fucking Towelhead’. At the
same time, the band did not hesitate to offend its potential new audience
by informing them that ‘The South Won’t Rise Again’ or that, quite simply,
‘All Our Fans Are Gay’. This hard-earned unpopularity with everyone even
entered Seth Putnam’s obituaries when he died of a drug-related heart
attack in 2011, which often declared in one way or another that ‘he may not
be universally mourned’ (MyDeathSpace), though not necessarily in such
euphemistic terms.
Anal Cunt were a thorn in the side of a grindcore scene that considers
itself a thorn in the side of the mainstream. Indeed, grindcore thrives on
provocation and explores extremes to counter what is perceived as a shal-
low and lukewarm field of mainstream music, and Anal Cunt managed to
alienate even a scene that usually has no trouble at all with being highly
ironic and dead serious at the same time. Yet, the band also poses a chal-
lenge to something larger and more abstract, namely to our conceptions
of popular culture and of the ‘unpopular/popular divide’. This, then, is
how we finally arrive at the larger project introduced by this essay. As
we discussed bands such as Anal Cunt among colleagues who all work in
one way or another on popular culture, it became increasingly (if only at
first intuitively) clear that one would not even label their musical genre
of grindcore or noisecore popular culture, not to mention the band itself,
which has managed to marginalize itself even further from a marginalized
sphere of cultural production. If this is not popular culture, and if we can just
as instinctively rule out that other half of the traditional binary opposition,
high culture, then the simplest and most obvious answer seems to be that
it must be unpopular culture. This resonated with those of us who consider
themselves affiliated with subcultures that embrace and value unpopularity
in one way or another, or even make unpopularity one of their defining
traits. Yet of course, this simple answer is not simple at all, since it begs the
question we would like to begin to address in this introduction, and which
the contributors to this volume will tackle in many different ways in their
respective essays: what is unpopular culture?
This is the guiding theme of the present essay collection, which is the
result of a four-day conference on unpopular culture held at Amerika Haus
Munich in fall 2013. In this volume, the authors will explore the possible
meanings and uses of the term and concept in various ways, sometimes
more theoretically, sometimes with regard to particular artifacts that can be

classified as unpopular culture rather than pop or high culture. The variety
of approaches is intentional, as we did not provide a fixed framework of
analysis when asking for contributions via our call for papers. While we had
our own ideas about the potential of the concept—which we will elaborate
below—we simply invited people to take the term and run with it in what-
ever direction it might take them, to see what results a communal effort of
definition and discussion would bring. This openness produced the variety
within the present volume, but it did not produce a single dictionary-style
definition of unpopular culture. Instead, we were guided by questions such
as the following: How does unpopularity come about? How is it constructed
and defined, how are such constructions maintained, and by whom? How
do the mechanisms of the unpopular change over time? What histories
of the unpopular could we tell? How does unpopularity relate to popular
and high culture? Can there even be such a thing as unpopular culture, or
is the unpopular at odds with culture itself? What are the politics of the
unpopular? What is its importance as a category of inclusion and exclusion,
for the self-proclaimed ‘subcultural underground’ and ‘the mainstream’?
How do particular cultural artifacts represent unpopularity, and to what
end? Can we describe an aesthetics of the unpopular? What particular
fields of popular and high culture distance themselves from or embrace the
unpopular? How do particular cultural artifacts become unpopular, and
why? How is the unpopular related to value judgments such as ‘offensive’,
‘controversial’, ‘cool’, ‘ugly’, ‘(un)fashionable’, or ‘bad’?
Evidently, these questions are of the kind that cannot be answered de-
finitively or completely but need to be addressed nonetheless. Like popular
culture and high culture, unpopular culture remains—and surely will
remain—a concept that is fluid and fuzzy, prone to change and criticism,
characterized by family resemblances rather than a fixed set of charac-
teristics that allows for easy characterization and labeling. Like so many
concepts in cultural studies, it might be more appropriate to always think
of unpopular cultures in the plural, in order to avoid giving the impression
of a monolithic, coherent, and homogenous theoretical construct. Therefore,
as the following essays show, it is the sum of answers to that definitional
question given here that matters, and it is rather the proliferation than the
reduction of meanings that testifies to the productivity and usefulness of
the concept, and the desirability and even necessity of exploring it beyond
what this collection and this introduction can offer.
What we do offer is this. The volume opens with Martin Butler’s essay
‘Why We Talk the Talk We Talk: On the Emptiness of Terms, the Processual
Introduc tion 11
Un/Popular, and Benefits of Distinction—Some Auto-Ethnographical Re-

marks’, in which he theoretically explores the way in which conceptions
of popular and unpopular culture are used as categories of self-positioning
and identitarian capital, rather than as analytical categories.
Dominika Ferens then takes the consideration of unpopular culture to
the field of literature in ‘Big Fish: On the Relative Popularity of Zane Grey
and Ernest Hemingway’, comparing two authors whose works, careers,
and commercial and critical reception raise questions about the criterion
of ‘popularity’ used to classify writers. Ferens argues that Grey and Hem-
ingway consistently traded in the not-yet-popular, used similar strategies
of controlling their public image to boost book sales, and were both read
by millions, though perhaps not the same millions. She addresses how
Hemingway the Modernist was torn between a desire and fear of popular
recognition and draws on biographical sources for Grey to show how he
dealt with his own waxing and waning popularity.
James Dorson takes this writerly concern with (un)popularity a step
further in ‘How (Not) to Make People Like You: The Anti-Popular Art of
David Foster Wallace’, reading his story ‘A Radically Condensed History
of Postindustrial Life’ as well as The Pale King as exemplary of a more
general desire in Wallace’s fiction to oppose what Dorson calls ‘popularity
culture’, or art that primarily seeks approval, not money or distinction, as
well as a sociability in which approval is the overriding end. Historicizing
and contextualizing Wallace’s texts by connecting them to David Ries-
man’s sociology of ‘other-direction’, Dorson reads Wallace’s concern with
sincerity and recursivity, as well as his critique of postmodernist literary
aesthetics, as part of an engagement with work and life in post-industrial
society.
Elizabeth Kovach closes this section with her essay ‘Dissenting Com-
modities: Negotiations of (Un)popularity in Publications Critical of Post-9/11
U.S.-America’, in which she discusses three generically diverse pieces of
writing that are critical of U.S.-American foreign policy and society since
9/11: Jane Mayer’s The Dark Side, Jonathan Franzen’s Freedom, and Juliana
Spahr’s thisconnectionofeveryonewithlungs. She argues that these texts have
been mostly read as dissenting, critical, and counter-hegemonic depictions
of the direction that the US has taken since 9/11, but little attention has
been paid to the commodified nature of such writerly dissent. In her own
analysis—drawing particularly on the work of Jacques Rancière—she
explores the tensions and ambivalences regarding issues of unpopularity
and popularity that affect writers who strive for political impact while they
participate in a market logic that inevitably dampens the blow.
The volume moves from literary to televisual culture with Dan Udy’s
essay ‘Secrets, Lies and The Real Housewives: The Death of an (Un)Popular
Genre’. Conceiving of the un/popular as that which splits viewers into two
opposing factions, where ardent fans clash with critics and wider audiences,
Udy presents the reality TV or docusoap show The Real Housewives and
the wider media network it is part of as an example of how audiences that
embrace such productions simultaneously reject them, based on a norma-
tive notion that they should reject them by certain cultural standards. Thus,
Udy identifies the unpopular as both closely related to camp and as the
productive force behind the complex cultural notion of the guilty pleasure.
Jeroen de Kloet and Jaap Kooijman consider a similarly un/popular media
phenomenon in ‘Karaoke Americanism Gangnam Style: K-pop, Wonder
Girls, and the Asian Unpopular’, highlighting particularly how unpopular
culture helps describe issues of cultural transfer, translatability, and, indeed,
marketability in a globalized world. They analyze why K-pop remains
globally unpopular and propose the notion of ‘karaoke Americanism’ to
understand global cultural flows and disjunctures. They examine the
pop act Wonder Girls as an example of this, describing not only their (un)
popularity in different cultures, but also their appropriation in different
contexts that attest to the political potential of karaoke Americanism.
While they acknowledge that this speaks of the continuous power of the
United States when it comes to the production of popular culture, they also
describe recent developments in terms of geopolitics, fragmentation, and
the digitization of culture that may help challenge this hegemony.
Florian Zappe continues this intermedial approach in a different way
in his essay ‘“When order is lost, time spits”: The Abject Unpopular Art
of Genesis (Breyer) P-Orridge’. Zappe draws on the work of Julia Kristeva
to theorize an abject unpopular culture at the radical fringes of popular
culture, which rejects its empty gestures of rebellion by dwelling on the
threshold of the unsettling and intangible qualities of the abject. He does
so by analyzing the work of performance artist Genesis (Breyer) P-Orridge,
whose use of abjection as an aesthetic principle on all levels of his life and
work—particularly in the context of projects such as COUM Transmis-
sions and Throbbing Gristle—locates him not only in the excluded middle
between the two poles of bourgeois ‘high’ and popular ‘low’, but in the
intangible center of a triangle consisting of ‘high’, ‘low’, and ‘pop’ culture.
Christian Schmidt then shifts the focus of the collection more firmly
towards music in his essay ‘“Famous in a Small Town”: The Authenticity of
Unpopularity in Contemporary Country Music’. He explores the ways in
which popularity and unpopularity are part and parcel of contemporary
Introduc tion 13
country music, a genre that is both commercially successful and, at the

same time, aspires to self-consciously distance itself from the perceived
artificiality of popular culture and thereby become regarded as the true
music of the common American folk. Schmidt shows how country music
simultaneously taps into a discourse of American popular culture and
styles itself as this popular culture’s unpopular other by staging a notion
of authentic Southern and Dixie identity in and through the music and its
visual representation in music videos. Drawing on Judith Halberstam’s no-
tion of metronormativity, he argues that country music is popular culture,
yet at the same time pinpoints the particular strategies used by the country
music industry, its artists, and its audiences to mark their distance to it and
construct an image of country music as the more authentic counterpart to
supposedly artificial popular culture.
Bärbel Harju addresses similar issues from a very different perspective
in ‘Making Christianity Cool: Christian Pop Music’s Quest for Popularity’,
as she analyzes Christian pop music’s shifting engagement with ‘secular’
society and mainstream pop culture since the late 1960s. She examines
the genre’s unique situation between religion, commerce, and music, along
with its (self-)perception as unpopular and its continuous struggle with the
mechanisms, values, and demands of pop culture, arguing that this also
sheds light on American evangelicalism as well as American culture at
large. Harju reads the genre’s attempts to join the mainstream as part of the
broader evangelical movement and its strategic embrace of popular culture.
C. Richard King then scrutinizes an even more unpopular field of musi-
cal production in ‘Listening to Bad Music: White Power and (Un)Popular
Culture’, finding in white power music a form of expressive culture that
breaks with social convention as its overt racism, advocacy of violence, and
palpable rage transgress accepted limits of speech and sentiment. Yet, King
offers a more complex interpretation that complicates prevailing accounts
of white power, musical expression, and popular culture. He argues that
white power music may be unpopular but is not isolated or idiosyncratic,
since it actively engages with and appropriates musical styles to commu-
nicate its message, build audiences, create community, recruit members,
and to crossover to more mainstream spaces. He also shows how, in the
course of the twentieth century, white supremacist music has moved from
pervading popular culture and public life to its margins, as it draws upon
and deploys popular stylings but has little claim beyond a bounded social
field on audience, desire, or fashion.
Paola Ferrero focuses on the importance of a perceived unpopu-
larity for a genre’s self-conception in her essay ‘Hipster Black Metal?
Deafheaven’s Sunbather and the Evolution of an (Un)popular Genre’.

Ferrero examines how the genre of Black Metal has shifted from the
realm of the unpopular to that of the ‘cool’, effectively making a transi-
tion into indie music as its style evolved from its early Norwegian roots.
To this end, she analyzes the receptive strategies of indie webzines
reviewers of Black Metal records by using Deafheaven’s album Sunbather
as a case study, arguing that the growing popularity of the genre in
indie webzine is a result of the reif ication of this particular album as
a paradigmatic shift in the history of genre, a reading counteracted by
the fans’ own ideas concerning the nature of the genre as a historically
unpopular one. The tension arising from this controversy reveals the
way a music subculture as carefully protected as Black Metal polices its
own boundaries and how processes of cultural appropriation threaten
the very identity of the genre.
Barry Shank’s essay ‘Unpopular Culture and the American Reception
of Tinariwen’ ends the section on music in this volume by arguing that
the spread of popular music across significant geographic and political
boundaries implicates new populations in enhanced and enlarged concep-
tions of the polis, the political form of the people. Shank asks whether it
is possible for a shared aesthetic to change to the shape of the political in
a meaningful way. He does so by discussing the case of Tinariwen, a band
of Tuareg musicians who have been among the leading groups developing
a particular style of what the West has come to call ‘desert blues’. As the
Western popularity of Tinariwen’s music has increased, political chaos has
descended upon Mali, the nation state that claims sovereignty over the
territories from which Tinariwen and Tuareg music emerged. This forms
the backdrop for Shank’s inquiry into the potential political force of music
in the face of war’s destruction.
Dietmar Meinel then explores the dichotomy of the un/popular in refer-
ence to film in his essay ‘Cultural Studies and the Un/Popular. How the
Ass-Kicking Work of Steven Seagal May Wrist-Break Our Paradigms of
Culture’. Tracing the Seagal oeuvre as he moved from acclaimed martial
arts action star to bizarre media figure, while remaining both consist-
ently unpopular and consistently popular, Meinel challenges a particular
representational logic in cultural studies by drawing attention to unpopular
texts that function only poorly as representations of their period and their
social formations. He argues that the artifacts of unpopular culture, such
as the later Seagal productions, question the representationalist paradigm
in literary and cultural studies and necessitate novel approaches to con-
ceptualizing culture.
Introduc tion 15
Karsten Senkbeil utilizes the prism of the unpopular to examine sports in

his essay ‘Unpopular Sport Teams and the Social Psychology of “Anti-Fans”’.
Considering the apparent paradox that major sports teams across the world
are simultaneously highly popular and unpopular, Senkbeil asks why fans
unite in their overt contempt for a specific team, what the psychological
setup and the sociocultural rationale of the ‘hater fan’ may be, and particu-
larly why people so fervently and outspokenly assign to themselves the role
of a non-member of a certain fan group. Engaging critically with the theories
of Pierre Bourdieu, John Fiske, and Michel Maffesoli, Senkbeil argues that
many typical characteristics of fans of any type of pop culture can indeed
be applied to anti-fans as well, and that economic reasons (symbolic class
struggle, traditionalism, and jealousy toward the nouveau riche) combine
with the dynamics of gender identities in bringing these characteristics
about.
Catherine Bouko combines the perspectives of media and museum stud-
ies in her essay ‘Popular, Unpopular: When First World War Museums Meet
Facebook’ to explore how the differences between popular and unpopular
media practices have shifted in the digital age. She considers the historical
museum as the traditionally ‘sacred space’ of high culture and its attempts
to integrate the codes of popular culture to make the younger generations
sensitive to themes they are likely to consider unattractive. In doing so, she
analyzes the story of the fictional WWI infantryman Léon Vivien that was
disseminated on Facebook in 2013 on behalf of the Meaux Museum of the
Great War, creating a media object that seeks to fuse History as presented
in museums with a popular contemporary media culture as two paradigms
of intimacy and connectivity intersect.
Susanne Leikam addresses a different kind of memorial culture with
an American focus in ‘Unpopular American Natural Calamities and the
Selectivity of Disaster Memory’, in which she presents selected ‘forgotten’
natural disasters and the (failed) processes of their memorialization that,
at the time, prevented them from becoming productive parts of public
discourses and to be visible in ‘high’ and ‘low’ cultural spheres. In refer-
ence to two case studies, Leikam argues that the unpopularity of natural
calamities is not an inherent condition or arises arbitrarily, but rather is
the result of economic, cultural, and political endeavors struggling for
hegemony in American cultures and, as such, is also often directly related
to the popularity of other historical moments.
Sebastian M. Herrmann closes the volume with an essay that takes the
notion of unpopular culture to yet another abstract level by applying it to
the field that comprises all the contributions collected here, the humanities.
In ‘The Unpopular Profession? Graduate Studies in the Humanities and

the Genre of the “Thesis Hatement”’, Herrmann analyzes a polemic and
conflicted genre that originates from within the humanities and warns
against pursuing a career in its disciplines. This is indicative of the role
the humanities and the academy play in contemporary U.S., if not Western
society. Herrmann describes these texts’ precarious form of (mis)com-
munication as being marked by irony, hyperbole, and a particular set of
tropes and metaphors. He also carves out their contradictory politics of
labor, class, income, and academia. Finally, Herrmann discusses how these
texts undermine their own presumed project.
While these considerations of unpopular culture are certainly original in

their respective explorations of the concept’s potential, they are not without
precedent in cultural studies, although explicit mention of the unpopular
is scarce. For example, Andrew Ross makes an important gesture toward
the unpopular within the study of popular and high culture in his 1989
monograph No Respect: Intellectuals & Popular Culture, when he emphasizes
that,
[w]hile it speaks enthusiastically to the feelings, desires, aspirations,

and pleasures of ordinary people, popular culture is far from being a
straightforward or unified expression of popular interests. It contains
elements of disrespect, and even opposition to structures of authority,
but it also contains ‘explanations’ […] for the maintenance of respect for
those structures of authority. (3)
One could say that this dialectic of popular culture is driven by the unpopu-
lar; that is, the counternarrative within popular culture itself that prevents
it from becoming what Ross dismisses as the ‘conspiratorial view of ‘mass
culture’ as imposed upon a passive populace like so much standardized
fodder, doled out to quell unrest and to fuel massive profits’ (4). Ross argues
not only that the histories of high and popular cultures must be told together
to make sense, but also that they need a history of intellectuals, or those
experts in culture whose traditional business is to define what is popular

and what is legitimate, who patrol the ever shifting borders of popular and
legitimate taste, who supervise the passports, the temporary visas, the
cultural identities, the threatening ‘alien’ elements, and the deportation
orders, and who occasionally make their own adventurist forays across
the border. (5)
Introduc tion 17
Unpopular culture, then, can be imagined as the disputed territory between

high and popular culture, a place that both lay claim to, but that none
can ever own completely; it is a perpetual no man’s-land that presents a
challenge to the very notion of permanent territorial inscription itself.
Without using the term, Ross identifies unpopular culture as a residue
within two internally heterogeneous systems of culture that prevents and
resists their respective attempts at homogenization and stabilization; not
an outside force to disturb their internal coherence but always already an
internal element of incoherence and disruption that must be continually
managed, supervised, and controlled.
In the now canonized field of cultural studies, (popular) culture famously
‘is the struggle over meaning, a struggle that takes place over and within
the sign’ (Grossberg 157). This struggle over meaning and articulation,
which critics like Stuart Hall, Lawrence Grossberg, and Dick Hebdidge
have tackled, could be complicated through a serious analysis of practices
of unpopular cultural articulation and appropriation and the way they
might open up a space of socio-cultural criticism beyond and/or within the
ironic. Accordingly, the politics of unpopularity and their relationship with
hegemonic cultural articulation are what is at stake when we take cultural
studies as a point of departure for assessing the unpopular. Unpopular
culture invites us to question the rules of popular culture and high culture
as a whole, and it offers us other options and not just a third, as for example
validating high-quality segments of popular culture as popular arts does
and has done, to evaluate and interpret cultural artifacts in their aesthetic
and political significance. One cannot overestimate the fact that today
popularity is most often measured in commercial terms, that this has been
the case for a long time, and that, furthermore, our understanding of high
culture relies heavily on commercial unpopularity.
These are a number of approaches to unpopular culture avant la lettre,
but the term itself has also been used in different contexts by different
people. That said, it has been employed in such specific ways that a more
general inquiry into its meanings is in order, and its prior uses can already
be considered part of this inquiry. For example, Bart Beaty used the term in
the title of his monograph Unpopular Culture: Transforming the European
Comic Book in the 1990s, to describe an area of cultural production that was
often used as an epitome of popular culture while at the same time being
unpopular—both part of mass culture and not part of it. In 2008, the artist
Grayson Perry published his selection of works from the British Arts Council
Collection under the title of Unpopular Culture, in which he seeks to provide
an ‘alternative view’ of postwar British art that ‘moves away from facts,
dates and movements and towards a more subtle investigation of the mood,
pace and preoccupations that underline British art of this period.’ This
anti-mainstream attitude characterizes many considerations of unpopular
culture. Moreover, it already points toward one of the most useful under-
standings of the term as a third concept that breaks open the dichotomy
of high and pop culture, denoting that which is not part of a (perceived)
mainstream mass culture but not part of a bourgeois high culture either.
This was the mission of SCRAM magazine, ‘a journal of unpopular culture’,
which chronicled ‘the neglected, the odd, the nifty and the nuts’ (SCRAM),
or the now-defunct Tangents magazine. Similarly, the annual Festival of
Unpopular Culture in Adelaide or the Institute for Unpopular Culture in
San Francisco (IFUC) celebrate and support non-mainstream art. In its
mission statement, the latter declares its determination to help ‘alleviate
artists’ needs to cater to public taste and opinion in order to survive’ (IFUC).
The normativity behind such contrasts and distinctions is obvious: here,
art is supposed to be absolutely autonomous, independent of commercial
considerations and critical or public reception. Popularity is understood
as something that should not even have to cross the artist’s mind in the
process of creation since it is a potential source of corruption of the art
itself, a view of art and artist that is rooted in Western Romanticism and
especially Modernism. Unpopularity is therefore desirable for the ‘true’
artist, and maybe even a measure of the cultural value of his work. At
the same time, the statement draws attention to the standards by which
cultural popularity is most often measured today, and it defines ex negativo
standards of unpopularity. The following aspects of un/popularity seem
the most crucial to us:
1) Popularity is commercial popularity, i.e. measured according to sales.

A cultural product is popular if it sells well, and it is unpopular if it is
a commercial failure.
2) Popularity is critical popularity, i.e. measured according to a discourse
between experts who declare a cultural product valuable. A cultural
product is popular if a sufficient number of critics consume and value
it, and it is unpopular if critics ignore it or do not value it.
3) Popularity is mass popularity, i.e. measured according to the number
of consumers (though not necessarily in terms of sales). A cultural
product is popular if a sufficient number of people consume it, and it
is unpopular if the number is insufficient.
4) Popularity is aesthetic popularity, i.e. a means of describing and
quantifying pleasure in consuming a cultural product. A cultural
Introduc tion 19
product is popular if a sufficient number of people like it, and it is

unpopular if the number is insufficient. (This is obviously related to
but not identical with the previous point.)
5) Popularity is original popularity, i.e. something that originates from
the people, i.e. measured according to its producers and its context of
production. A cultural product is popular if it comes from the people,
and it is unpopular if it is imposed on the many by the few. This is espe-
cially relevant in constructions of popularity with regard to imagined
communities such as nations, where, for example, a ‘popular’ culture
of traditions, folk songs, or fairytales was invented in Romanticism to
construct a people in the first place and an invention of an unpopular
culture might have always already functioned as said construction’s
inherent Other.
Other categories of popularity and unpopularity can, of course, be found,

and the essays in this collection certainly provide a few; yet, these strike us
as the most relevant for the purpose at hand of conceptualizing unpopular
culture as a third term that complicates and enriches the opposition be-
tween high and pop culture and that offers an entirely different perspective.
We will return to these aspects later; for the moment, it is sufficient to note
that the study of unpopular culture is interested in exploring, analyzing, and
challenging the mechanisms and ideologies of (un)popularity mentioned
above.
Stephen Redhead has done this from a combined perspective of law,
sociology, and cultural studies in his 1995 Unpopular Cultures: The Birth of
Law and Popular Culture, which provides a useful framework for thinking
about unpopular culture at large, even though he does not really pursue
the implications of the unpopular as far as possible. Redhead emphasizes
from the start that his is not simply ‘a study of outlawed cultures,’ and
that to ‘decide what, and who, is ‘deviant’ these days […] is not an easy, or
straightforward task’ (3). In doing so, he draws attention to the problematic
dichotomies of the normal, the mainstream, and the popular and the ab-
normal, the marginalized, and the unpopular. This differentiation is highly
important to unpopular culture, but its rules and regulations are far from
straightforward or unitary, and they are certainly subject to change over
time and in different contexts. In this understanding of the term, unpopular
culture distinguishes itself from popular culture rather than high culture,
since it opposes a certain mainstream, and it assumes its meanings in
opposition to popular culture as mass culture. Yet, unpopular culture is
not simply a synonym for high culture that maintains the old dichotomy
of high and low, since it is often located in very different contexts and is
opposed to, if not even hostile to, the bourgeois environment that defines
high culture. At the same time, works of unpopular culture do not buy into
a simple dichotomy of class that would oppose a bourgeois elite (defined
by capital, education, etc.) to the masses of a homogeneous working class
and their respective separate cultural spheres. Unpopular culture can be
so elitist that even T.S. Eliot might want to tell its devotees to loosen up
and live a little; try discussing the sufficient criteria of what makes for
true Black Metal or Underground Rap, or the rules of selling out in any
field of cultural production that opposes the mainstream, and you will
find out soon enough that only very little is popular about these alleged
fields of popular culture. A conceptualization of unpopular culture may
show that such strict conventions of inclusion and exclusion are similar
but obviously not identical to those of high culture, which also demarcates
its territory by carving out a particular sphere of the unpopular from mass
culture; but, while it also justifies its unpopularity aesthetically, it does so
in reference to a very different notion of cultural value. Unpopular culture
thus can be considered the disruptive element that resists and complicates
the simplifications of binary oppositions such as elite versus masses or
highbrow versus lowbrow. Both high and pop culture can be unpopular
culture, but neither defines the term, nor do both concepts taken together
do so.
What unpopular culture does is draw attention to the aesthetic and
political value judgments that are at the heart of the high/pop culture
divide, and it shows that, while Postmodernist theory has taught us to shy
away from such judgments, we still make them every time we consider,
appreciate, consume, and reflect upon a cultural artifact, as cultural critics
and as fans. It highlights the fact that both high and pop culture are always
loaded terms that can never be used neutrally, innocently, or merely descrip-
tively; if cultural studies has shown anything, then it is that such a thing as
‘mere description’ is impossible. Unpopular culture thus intervenes in the
alleged neutrality of this discourse, drawing attention to considerations of
aesthetics—‘good’ music, a ‘really bad’ novel, a video game that ‘sucks’ but
‘is fun’, a ‘camp’ performance, a ‘B’ movie, a ‘cult’ classic, ‘offensive’ lyrics,
and so on—that have supposedly vanished from critical considerations
of culture as they opened up toward the popular, but which, in fact, have
only become implicit where one may as well make them explicit. Therefore,
unpopular culture simultaneously highlights the normativity of high and
pop culture and embraces its own normative position instead of pretending
not to have one. Rather, it inquires into the rules of that very normativity
Introduc tion 21
by considering what is deviant, abject, offensive, and marginalized, but

also set aside as special, underground, visible or accessible only to a certain
elite, a niche cultivated by its own caste of priests and devotees who are
very particular about inclusion and exclusion (and this means Joyceans
deciphering Finnegans Wake as much as avid readers of fan fiction speaking
in their own code).
For this reason, as well as for its recognition of the intrinsic connection
between the aesthetic and the political, the study of unpopular culture must
necessarily follow Fredric Jameson’s famous slogan to ‘Always historicize!’
(ix). Just like any artifact might transition from high to pop culture or vice
versa over time, it might also become part of unpopular culture, or stop
being part of it, a process that may be connected to a categorization as high
or pop, but does not necessarily have to be. This means that not only can
something be high culture and unpopular culture but also popular culture
and unpopular culture at the same time, even though the latter seems to
be a contradiction in terms. However, it is only oxymoronic if one buys
into the high/pop culture dichotomy in the first place and understands
mass culture in an all too homogeneous way. Unpopular culture instead
draws attention to the heterogeneities that characterize both high and
pop culture, and to those spheres of cultural production and reception
that are not adequately described in reference either to a certain cultural
elite or a certain large group of people who are all too often cast as passive
recipients rather than active critics of the works they consume. Evidently,
this arcs back to the complex of cultural encoding and decoding that holds
a prominent place in post-cultural studies inquiries of cultural forms and
practices. Unpopularity and intentionality enter a meaningful relationship
in this context, insofar as the ‘intentionally unpopular’ and the ‘accidentally
unpopular’ illuminate the complexities inherent in meaning-making and
cultural agency. After all, being purposefully ‘unpopular’, as in avant-garde
or underground cultural production, is different from becoming or being
made unpopular in the process of audience reception, re-articulation, and
appropriation—especially in our times of digital media communication and
its instantaneous, and instantaneously serial, aesthetics of unpopularity.
It was probably the elitist strands of Modernism that first cultivated
the aesthetics of the unpopular and unpopularity as aesthetics, valuing
art only if it was not for the people but rather for a selected few initiates.
However, it is also true that quite a few Modernists were not at all averse
to financial and, indeed, popular success, and so were cultivating aesthetic
unpopularity while at the same time seeking commercial popularity. It is
worth remembering that the first publication of Ulysses as a single book
was printed in different editions to suit different tastes and wallets, 2

while Joyce sought just the right kind of unpopularity, and by ‘resisting
the critical appropriation of his writing into Culture, Joyce refused both
the affable handshake of the biens culturels and remained aloof from
ordinary readers’ (Nash 98). These complex rules of unpopularity as a
measure of aesthetic quality that have been set in and by Modernism are
still with us today, having, for example, seeped into musical subcultures
in which ‘selling out’ is the worst an artist can do, thus winning and losing
an audience at the same time. Postmodernism—in academia as well as in
the larger cultural sphere—ultimately did not succeed in exorcising the
specters of this high-cultural prejudice, nor did it manage to really ‘cross
the border, close the gap’ (in Leslie Fiedler’s famous words) between high
and popular culture, partial and significant successes notwithstanding.
A conceptualization of unpopular culture can be considered part of this
ongoing attempt to do so, using different tactics in an already established
strategy of assaulting one of the most entrenched fortifications of Western
cultural tradition.
Questions of popularity have been haunting artists for more than a cen-
tury since Modernism became, somewhat paradoxically, both the epitome
of high culture and at the same time a paradigm for what culture is in
general, a standard of the exceptional that was met with resistance from
Postmodernists as soon as it had completed its transition from subversion
to establishment. One fine pre-Modernist example is Henry David Thoreau,
who reported in his diary on 28 October 1853 that he had received the
brutally material proof of his commercial failure as a writer:
For a year or two past, my publisher, falsely so called, has been writing
from time to time to ask what disposition should be made of the copies of
‘A Week on the Concord and Merrimack Rivers’ still on hand, and at last
suggesting that he had use for the room they occupied in his cellar. So I
had them all sent to me here, and they have arrived to-day by express,
filling the man‘s wagon,—706 copies out of an edition of 1000 which I
bought of Munroe four years ago and have ever since been paying for,
and have not quite paid for yet. The wares are sent to me at last, and I
have an opportunity to examine my purchase. They are something more
substantial than fame, as my back knows, which has borne them up two
flights of stairs to a place similar to that to which they trace their origin.
Of the remaining two hundred and ninety and odd, seventy-five were
given away, the rest sold. I have now a library of nearly nine hundred
volumes, over seven hundred of which I wrote myself. (Journal 459)
Introduc tion 23
As Thoreau was reminded of his unpopularity as a writer, he reinscribes

commercial failure as artistic and, indeed, personal liberation, declaring
that it is precisely his lack of popularity that makes him a better writer, as he
is now free from any intended or imagined audience in his writing process:
Nevertheless, in spite of this result, sitting beside the inert mass of my

works, I take up my pen to-night to record what thought or experience I
may have had, with as much satisfaction as ever. Indeed, I believe that this
result is more inspiring and better for me than if a thousand had bought
my wares. It affects my privacy less and leaves me freer. (Journal 460)
Thoreau’s example indicates that unpopular culture is always related to

failure in one way or another—failure to sell, failure to please the critics,
failure to meet one’s own artistic standards, failure to save the world or
at least change humanity, and so on—and therefore both exposes and
challenges the very criteria that define success. As such, the queer art of
unpopular culture can be considered part of Judith Halberstam’s ‘queer art
of failure’ that can show potential among an oppressive actuality:
Under certain circumstances failing, losing, forgetting, unmaking,

undoing, unbecoming, not knowing may […] offer more creative, more
cooperative, more surprising ways of being in the world. […] The queer
art of failure turns on the impossible, the improbable, the unlikely, and
the unremarkable. It quietly loses, and in losing it imagines other goals
for life, for love, for art, and for being. (2–3)
The study of unpopular culture, then, is a critical inquiry into these ‘certain
circumstances’ as well as these ‘other goals’, and Halberstam’s work shows
that it should not take itself too seriously if it wants to challenge what is
all too serious, and that it must retain a questioning perspective on its
own ideologies, as the case of Thoreau shows. After all, for him, as for the
contemporary indie band, it is always easier to celebrate and romanticize
one’s own commercial failure as true artistic integrity if one simply cannot
get the damn public to buy one’s stuff. Many critics agree that it was this
unpopularity that made Thoreau rewrite Walden so that it might be more
popular and marketable: as Robert F. Sayre has it, the book ‘was advertised
in A Week as soon to be published. But the commercial failure of his first
book discouraged the publisher from undertaking a second, and throughout
the early 1850s Thoreau reworked Walden into the form in which we know
it’ (Thoreau, Walden 1052).
As a contemporary countermodel to the Thoreau that professed to em-

brace unpopularity while seeking popularity, Walt Whitman tried very hard
to become popular and sell his self-published book Leaves of Grass in 1855,
not only reviewing it himself—very favorably as well as anonymously—but
also famously using a letter from Emerson as a blurb for the second edition
without seeking permission. Furthermore, he also ‘created a book that he
hoped would “go into any reasonable pocket”, something the first edition
clearly would not do’ (Folsom), so that it could truly be the people’s poetry he
envisioned as his ‘Great Construction of the New Bible’ (Whitman, Notebooks
353, emphasis in original). Yet, Whitman was clearly never as popular as he
wanted to be, and his declaration that ends the preface of the first edition
of Leaves of Grass that the ‘proof of a poet is that his country absorbs him
as affectionately as he has absorbed it’ (25) remained wishful thinking, at
least while he was alive. The number of artists who suffered similar fates of
unpopularity that were then transformed into popularity—as high culture
and pop culture, respectively or simultaneously—is legion; just think of
Melville3 or Dickinson in the nineteenth century or David Markson, who
ironically chronicled the unpopularity of artists in the vignettes of his
later novels, in the twentieth. Some writers were too popular in their time
to be considered high culture later on, with highbrow critics for a long
time operating under the a priori assumption that popularity must equal
aesthetic impoverishment. Edgar Allan Poe and William Shakespeare are
probably the most striking examples of this high-cultural prejudice against
popularity. Yet, their cases are obviously no warning to proponents of high
culture that today’s pop culture might be tomorrow’s high culture (and vice
versa), and that critics should not be deterred by the popularity of a work
of art. Thus, Harold Bloom hoped in a Wall Street Journal article in 2000
that ‘my discontent is not merely a highbrow snobbery’ but nevertheless
went on to answer his own rhetorical question in such a way as to indicate
as much: ‘Can more than 35 million book buyers, and their offspring, be
wrong? Yes, they have been, and will continue to be for as long as they
persevere with Potter.’ And as if just to make sure that we make no mistake
about his highbrow snobbery, he wrote in 2003 that the ‘decision to give the
National Book Foundation’s annual award for “distinguished contribution”
to Stephen King is extraordinary, another low in the shocking process of
dumbing down our cultural life’ (‘Dumbing Down’). Bloom is not just an
obvious straw man here, an old conservative critic who rants in a jeremiad
against the youth of today and their ridiculous reading habits that will one
day surely ruin us all (although he is, and he does), but he is a powerful
figure in the discourse of literature and culture, and he is not in any way
Introduc tion 25
exceptional when it comes to prejudice against the popular. (Just think of

Adorno on jazz, a genre that probably has moved from pop to high culture
like no other in music, but certainly not because of him.)
Instead, Bloom’s example draws attention to the aspect of power that
marks the discourse of unpopular culture as much as any other discourse.
Popularity and unpopularity do not just occur, they are produced, not (or
only rarely) by a single person, but rather by complex cultural mechanisms.
For example, one might frame the canon wars that started as early as the
1960s and reached their culmination in the 80s and 90s in terms of unpopu-
lar culture, and as a consequence see that popularity and unpopularity are
discursive tools and, indeed, weapons to construct and control meaning,
significance, and ultimately ideology. For the canon, it is not important
if a text is popular or unpopular; it has to be popular and unpopular with
the right people to make it into ‘literature’. The standards of unpopularity
are closely connected to the standards of literature and of the bourgeois
conception of art itself. At the same time, unpopularity can be precisely
what subverts these standards. Unpopular culture is not a unified field;
the answers to the question ‘unpopular with who, and why?’ will always
indicate as much, and they are therefore central to the study of unpopular
culture, and central to its political and aesthetic outlook.
There is a similar popular bias against so-called high culture, which is
notoriously unpopular, and often simply because it is framed as unpopular
(difficult, inaccessible, elitist, boring, intellectual, irrelevant, and so on).
Unpopularity is thus connected to a certain set of expectations rather than
aesthetic qualities. We are surprised when these expectations are not met
and, for example, a text labeled as highbrow turns out to be entertaining
and funny instead of boring and outdated, and it turns out to fulfill our
criteria of popularity but remains within the unpopular sphere of high
culture because of its designation as such. Every reader will have their own
examples of such revelations, just like we might be unable to explain the
popularity of a cultural artifact even if our lives depended on it, or why it
has become popular or unpopular as its historical context changed. This
applies to critical honors as much as to bestseller lists: why is Peyton Place
no longer read by just about everyone, as it used to be in the 1950s; how did
Philip K. Dick’s stories move from pulp magazines to the Library of America;
and why on earth did Rudyard Kipling ever get the Nobel Prize? And why
has [insert name of your favorite author] not been given one?
Quite a few of the texts students of literature have thrust upon them in
introductory classes are unpopular with them; perhaps they are unpopular
with them precisely because they are thrust upon them. You might hate
having to read Franklin’s Autobiography when you have to, but enjoy it
when you do it because you want to; or you might hate reading Pride and
Prejudice no matter how free you were in choosing to do so, as Mark Twain
kept saying, for example, when insisting in Following the Equator that ‘[j]ust
that one omission [of Jane Austen’s books] alone would make a fairly good
library out of a library that hadn’t a book in it’ (312). Unpopularity always
has a context, and by definition there is no unpopularity without context;
the concept itself presumes a certain audience (even if it does not contain a
single member), and it does not describe a property intrinsic to the cultural
artifact itself, but one that is always somehow inscribed upon it. Twain does
such inscribing on Austen’s texts in the quotation above, questioning her
popularity by demanding her radical unpopularity; more often than not,
however, such power lies not with individuals but with groups of people
who exert sufficient influence over the discourse to attest or deny (un)
popularity. The study of unpopular culture, then, is also the study of audi-
ences, and it tends to be concerned more with the reception of cultural
artifacts than with their production, since unpopularity presupposes an
audience. At the same time, considerations and aspects of unpopularity
are certainly part of production of the work as well as the work itself, and
it would be reductive and misguided to consider the study of unpopular
culture as a kind of reader-response criticism in which all popularity is
produced solely in the recipient.
There are many different aesthetics of the unpopular, never fixed but
ever-changing in different times and cultural contexts, but present nonethe-
less, and they can be described in relation to their historical moment of
production and reception. Unpopularity can be sought, produced, and
used for different purposes; it can be a source of aesthetic liberation from
the constraints of popular taste or from those of critical esteem. Yet, at
the same time, popularity and unpopularity are always somewhat beyond
control, even though manufacturing consent has been part of the capitalist
cultural industry for a long time. This may be one of the strongest subversive
potentials of the unpopular in a society that defines popularity in terms of
commerce, and this is where the aesthetics and the politics of unpopular
culture become indistinguishable: its irreducible ability to surprise the
cultural market, to deny popularity where it should be granted, to create
something that cannot be used, to find the niches and loopholes and blind
spots in a system of commerce that should not have any. At the same time,
the unpopular is always in danger of being made popular, of being bought
and sold, and any subversive potential can always be integrated within the
very system it seeks to undermine. If ‘any System which cannot tolerate
Introduc tion 27
heresy [is] a system which, by its nature, must sooner or later fall’ (Pynchon
747), then capitalism has avoided its downfall by being exceptionally good
at tolerating (i.e. incorporating) heresy against it. You can always offer the
underground anarchist punk band a million-dollar record contract and
ask them to become Blink 182; in fact, the Sex Pistols have always been a
product of the very industry they allegedly attacked. (Then again, we can
only imagine what would have happened if someone had offered Anal Cunt
a similar contract.)
Nevertheless, unpopular culture can potentially subvert the very founda-
tion of the popular and offers ways of rethinking even the most dominant
of ideologies. If popular culture—just as much as high culture—is being
used to create the people in the first place, not as a culture for the people
but a culture constructing the people as a people by giving them a history
and an identity, then unpopular culture is the disruptive element in this
construction, resisting its homogenizations and omissions, opposing the
complete smoothing of a striated cultural space. In Empire, Michael Hardt
and Antonio Negri first pose the crucial question ‘what is a people and how
is it made?’ and then go on to argue that this construct is the result, and not
the foundation, of the national and its Modern homogenizations: ‘Although
“the people” is posed as the originary basis of the nation, the modern concep-
tion of the people is in fact a product of the nation-state, and survives only
within its specific ideological context” (102, emphasis in original). Both high
culture and popular culture have participated in this homogenizing process
of identity formation, and one will find sites of resistance to this power of
the national with the global unpopular cultures that offer a multitudinous
Other to the Empire of high and low, pop, or mass cultures, although they
also pervade and partake of them, and they both support and resist their
mechanisms. Within this national and global cultural industry, it may well
be unpopular culture that is still able to tell the stories and histories nobody
wants to hear, sing the songs nobody else wants to sing, show the world what
it does not want to see, and ultimately give the people what they don’t want
because what they want was never what they really needed.
Notes
1. For a solid overview and brief history of grindcore and its political outlooks,
see Salmhofer.
2. For an excellent study of Modernism and commercialism, see Catherine
Turner‘s Marketing Modernism between the Two World Wars, in which she
argues that, ‘without embracing consumer culture wholeheartedly, the

modernists saw that they had much to gain by reaching a détente with
commerce. Their art remained sacred products of their own inspiration,
but they also saw that if they really wanted to ‘make it new’—in the broad
sense of changing human perception and experience in the world—they
would have to reach an audience’ (4), or in other words: become popular.
3. For an excellent discussion of Melville’s (un)popularity and his relevance
for popular culture, see Richard Hardack’s essay ‘“Or, the Whale”: Unpopular
Melville in the Popular Imagination, or a Theory of Unusability’, in which
he answers his question of ‘why most of Melville‘s works remain unknown
or unpopular, not just resistant to interpretation, but almost invisible and
‘unreadable’ in popular media’ (8) by usefully exploring the unpopular as
the unutilizable.
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Redhead, Steve. Unpopular Cultures: The Birth of Law and Popular Culture. Manchester: Man-
chester UP, 1995. Print.
Ross, Andrew. No Respect: Intellectuals & Popular Culture. New York: Routledge, 1989. Print.
Introduc tion 29
Salmhofer, Andreas. ‘Grindcore—eine extreme Mutation des Metals? Zur Diskursivierung des
Grindcore.’ Metal Matters: Heavy Metal als Kultur und Welt. Ed. Rolf F. Nohr and Herbert
Schwaab. Münster: LIT, 2011. 207–24. Print.
SCRAM Magazine: A Journal of Unpopular Culture. Web. 7 Apr. 2016.
Tangents: The Home of Unpopular Culture. Web. 7 Apr. 2016.
Thoreau, Henry David. The Journal of Henry David Thoreau. Boston: Houghton Mifflin, 1906.
459–60. Print.
—. Walden; or, Life in the Woods: A Week, Walden, The Maine Woods, Cape Cod. New York: Library
of America, 1985. Print.
Turner, Catherine. Marketing Modernism between the Two World Wars. Amherst: U of Mas-
sachusetts P, 2003. Print.
Twain, Mark (Samuel L. Clemens). Following the Equator: A Journey around the World. 1897. Vol.
2. New York: Harper, 1916. Print.
‘Unpopular Culture: Grayson Perry Selects from the Arts Council Collection.’ Southbank Centre.
Web. 7 Apr. 2016.
Whitman, Walt. Leaves of Grass. 1855. Poetry and Prose. Ed. Justin Kaplan. New York: Library
of America, 1996. 5–145. Print.
—. Notebooks and Unpublished Prose Manuscripts. Ed. Edward F. Grier. 6 vols. New York: New
York UP, 1984. Print.
Why We Talk the Talk We Talk
On the Emptiness of Terms, the Processual Un/Popular,
and Benefits of Distinction—Some Auto-Ethnographical
Remarks
Martin Butler
Granted, the term ‘unpopular culture’ adds some spice to the soup of terms
we1 usually stir when we talk the talk we are used to (supposed to?) talk
in the study of popular culture. ‘Unpopular culture’, to be precise, sounds
somewhat more ‘exotic’, even subversive, compared to the more established
repertoire of concepts that usually come in dichotomies—‘mass culture’,
‘low culture’, ‘the mainstream’, as opposed to ‘elite culture’, ‘high culture’,
‘avant-garde’, to mention perhaps the most prominent examples. But what’s
in it, one might well ask, despite its challenging prefix ‘un-’, which, indeed,
somewhat surprisingly, irritates our set of taken-for-granted terms and
concepts? My contribution takes this question as a starting point to explore
if, and, if yes, in how far thinking and talking about ‘unpopular’ culture
might be a fruitful exercise, not so much with regard to the examination
of specific popular cultural practices and forms of expression, but rather
with an eye on the ways we talk a talk in which the above-mentioned terms,
including the ‘unpopular’, are used as categories of self-positioning, rather
than as analytical categories.
The inspiration for this essay sprang from the long-winded discussions
with my 18-year-old daughter on what is popular and what is not—discus-
sions that I get involved in quite regularly to learn why it is that I (and the
things I am doing) are particularly unpopular. This is perhaps no coinci-
dence, as it is exactly these discussions that made me sensitive toward
the contingency of the terms and concepts I regularly employ in scholarly
discourse. To be more precise, the very fact that the conversations with
my daughter happen in a non-academic context made me realize that the
dynamics of the debate about what is popular and what is unpopular are
highly dependent on the social environment in which the debate takes
place. In other words: the debate as well as the actors’ positioning within
that debate are processes that are distinctly context-specific. Consequently,
claims of what is popular and what is not are, first, relational acts of creat-
ing difference, and second, charged with normative implications both in
everyday and in scholarly discourse.
32 Martin Butler
Moreover, after some closer inspection of the situations I had in mind,

I also came to the conclusion that in the conversations I have with my
daughter we rarely use the term ‘popular’, and I think we hardly, if ever,
use the term ‘unpopular’. Instead, we refer to a range of synonyms and
alternatives, using a more nuanced vocabulary to navigate within this
process of positioning ourselves, which, in fact, added to my curiosity
about these situations. To be precise, when my daughter says ‘uncool’,
she probably means ‘unpopular’, at least this is what I assume. Based on
this assumption, then, I observe myself deliberately contradicting her,
using ‘uncool’ as a synonym for what I think she would consider ‘popular’
in the f irst place, i.e. everything that is hit-listed, everything that is a
must-have, everything that you have to acquire to be included and, at the
same time, to be able to exclude those who cannot afford it. This is also
everything I dislike—at least that’s what I keep on proclaiming in these
very conversations.
So—I have been asking myself again and again—am I lured into believ-
ing in the somewhat too orthodox voice of Adorno telling me, as a parent,
to be skeptical of whatever is termed ‘popular’ by my daughter? Me, who
considers himself quite familiar with the Birmingham narrative of sub-
versive appropriation and the emancipatory potential of popular culture?
Quite intuitively, and somewhat at odds with my academic socialization,
it seems that I try to position myself in a debate that, though at least I
should be aware that nobody will prevail, is still fought with passion and
stamina. Perhaps this is what I do. And so does my daughter, and as the
debate continues, I have the feeling that, somehow, both of us lose: my
daughter, who is victimized by the culture industry (at least this is the
position I observe myself taking), and me too, since I turn out to be worried
after each and every conversation, exactly because I realize that I don’t
really think that there is something intrinsically bad in popular culture
(yet I keep on arguing along these lines).
In the following, I would like to take these highly anecdotal, auto-
ethnographic observations as a starting point for some reflections on
what we do when we talk about popular culture, and what this talk does
both to us and to popular culture. I would like to begin my exploration by
questioning the benefits of the category of the ‘unpopular’ in the first place.
In other words: what is gained once we add to the range of dichotomies
that scholars in the field of popular cultural studies have been keen to
deconstruct, another term that, once related to these dichotomies, might
run the risk of perpetuating rather than questioning them? Sure, a term
such as ‘unpopular’ might contribute to irritating established concepts and
might thus complicate matters in a productive way, if we ask, as Lüthe and

Pöhlmann do in the introduction to this volume: ‘How does unpopular-
ity relate to popular and high culture? Can there even be such a thing as
unpopular culture, or is the unpopular at odds with culture itself? […] What
particular fields of popular and high culture distance themselves from
or embrace the unpopular?’ (10) However, as irritating as these questions
might be, one might as well argue that they indeed frame the unpopular
by sketching (and thus perpetuating) a set of established notions and ideas,
of popular culture, of high culture, and of certain ‘fields’ that are said to
exist in each domain.
But then again, how else should we approach the unpopular, if not
through the creation of difference, through the search and identification
of the ‘absent’ other, as has been the case with the established definitions
of popular culture that all work on the basis of a logic of distinction? Yet,
once we accept that ‘popular’ is a relational category and arrive at John
Storey’s conclusion that ‘popular culture is in effect an empty conceptual
category, one which can be filled in a wide variety of often conflicting ways
depending on the context of use’ (1), I think we need to acknowledge that
the ‘unpopular’ might be equally empty. If this is the case, then how do we
determine the ‘absent other’ of a conceptual category that itself is but an
‘empty category’?
What adds to this epistemological dilemma that results from the double
contingency of two ‘empty conceptual categor[ies]’ is the highly norma-
tive history of the term ‘popular’, which comes with a lot of ideological
underpinnings and is charged with a range of connotations, depending, of
course, on the specific ‘context of use’, as Storey would argue. Consequently,
a concept such as the ‘unpopular’, through its built-in reference to the
‘popular’ as its point of departure, is not only difficult to grasp, but also
highly contaminated.
Where, then, do we go from here, if we do not want to abandon the
term and still believe that—despite its inherent problems as an analytical
category—it might be worth exploring? One way of turning its contingency
and its normative dimension from a bug into a feature might be to conceive
(in the sense of Storey) of the ‘unpopular’ (e.g. as in ‘unpopular culture’)
not as an ontological category, but as a discursive ascription. That is, not
as an ‘organic’ or essential characteristic of specific cultural practices or
artifacts, but as a highly precarious, momentous, and discursively assigned
quality, which is constituted (and vanishes?) within processes of recep-
tion, appropriation, and commodification, framed by specific discursive
settings which, in turn, operate according to a set of context-dependent
34 Martin Butler
rules and regulations. Acknowledging this processual quality (i.e. the

discursive constitution and the ‘situatedness’ of both categories) may help
conceive of ‘popular’ and ‘unpopular’ not as a terminological or conceptual
dichotomy, but as different moments in the ‘appropriation trajectories’ of
cultural practices and artifacts.
Such a notion of the processual un/popular, then, may indeed unfold
analytical potential, as it allows us to describe and understand the politics
of positioning in a debate I regularly have with my daughter—a debate
that could thus be conceived of as a process of drafting specific subject
positions for both of us, subject positions that we accept or not, that we
may conform to, but also struggle with or work against. Against this
backdrop, the discourse on the popular and the unpopular, in which both
terms are continuously redefined, turns into a site for identity formation
and transformation, in which different actors, non-academic as well as
academic, continuously set out to situate and re-situate themselves, more
or less successfully.
What might be helpful for a more precise conceptualization of what is
at stake in these situational formations and arrangements is the notion of
‘identitarian capital’ introduced by Sebastian Thies and Olaf Kaltmeier.
Though they specifically look at transcultural processes of identity forma-
tion in their theoretical outline of identitarian capital, the concept might
serve well to add precision to the description of what is going in the discourse
on the ‘unpopular’. With reference to Bourdieu, Thies and Kaltmeier argue
that identitarian capital is negotiated on what they call ‘the field of identity
politics’ (25 et passim), in which ‘all positions are informed by situational
components and the interrelation with other actors in the field and can
thus be seen as part of complex constellations’ (37).
Their notion of identitarian capital, then, is based on the idea that one can
‘use’ his or her cultural identity as capital in processes of strategic position-
ing in that field, while these acts of positioning, in turn, may increase or
diminish one’s ‘amount’ of identitarian capital, so to speak. For instance,
in academic contexts, the identitarian capital accumulated through talks,
publications, acquired funding, etc., is a resource scholars may rely upon
to strategically position themselves and to draw attention to what they
write. The same capital would perhaps affect things negatively in a different
context, for instance, in a family argument about what is popular and what
is not, where the subject position ‘scholar’ would not be acknowledged
in the same way (if at all). In more abstract terms, ‘a person’s individual
constellation of subject positions may in certain constellations facilitate
intervention […] or hinder it, while in other constellations the roles might
be inversed’ (Thies and Kaltmeier 30).2
Accordingly, Thies and Kaltmeier describe identitarian capital as
a form of capital that merges together aspects of Bourdieu’s concepts

of cultural, social and symbolic capital. Cultural identities comprise
habitualized manners, language, education, and emotional belonging,
all related to cultural capital as an incorporated form of knowledge about
social distinction. Social capital bears on social networks, institutional
belonging and political organization. (29–30)
‘Contrary to economic capital,’ they eventually conclude, ‘identitarian

capital does not obey a logic of scarcity, but serves as a sort of credit by
means of which a certain actor receives recognition and power from his
social environment. In this way, it resembles the characteristics of symbolic
capital’ (30). As already hinted at above, this credit is, of course, not so easily
transferable from one social or discursive environment to another, nor do
social or discursive environments automatically acknowledge the capital I
bring—to be sure, this is exactly where the trouble starts, as when we talk
the talk we talk, the credits associated with this talk is highly dependent
on the specific context in which we talk this talk (cf. also Maase).
What’s in it, now, that would further our understanding of the tricky
business of talking about the popular and the unpopular? I think the answer
could be at least twofold: first, to label something or somebody as ‘popular’
or ‘unpopular’ becomes part of a ‘narration of identitarian positionings and
positions’ (Thies and Kaltmeier 39), i.e. whenever I call something ‘popular’
or ‘unpopular’, it may actually tell you more about who I am than about
what I have been trying to describe. Moreover, it definitely matters when
and where I call something or somebody ‘popular’ or ‘unpopular’, as my
authority to say so heavily depends on my identitarian capital, which, in
turn, is determined and eventually affected—i.e. diminished, increased,
transformed—by the very situational parameters that frame my discursive
intervention.
And, to be sure, such narrations of identitarian positionings and posi-
tions that draw upon the ‘popular’ and the ‘unpopular’ are manifold and
can be found in different contexts: there is, for instance, an Institute for
Unpopular Culture, the IFUC, which is—and I quote from the website—
‘a San Francisco-based organization that supports emerging artists and
promotes artistic attempts to challenge the status quo. By sponsoring
subversive or ‘unpopular’ artistic visions, IFUC helps to alleviate artists’
36 Martin Butler
needs to cater to public taste and opinion in order to survive’ (IFUC). Thus,
clearly aligning the unpopular with the subversive, ascribing a distinctly
political momentum to it, the Institute presents and positions itself as a
supporter of cultural ‘dissenters’ and marginalized voices. And, as a more
historical part of this narrative of positioning suggests, the Institute seems
to have been quite successful in this regard:
The founder of the IFUC, David Ferguson, produced, managed, and

directed the careers of musicians like Johnny Rotten (Public Image, Ltd.),
Billy Bragg, The Avengers, Lydia Lunch, and Henry Rollins. David also op-
erated a lecture agency in the 1970s which represented the Black Panther
Party, Paul Krassner (founder of the Yippie Party), Stewart Brand (founder
of the Whole Earth catalogue), and poet Michael McClure. (IFUC)
The Festival of Unpopular Culture, which took place in October 2013, set
out to ‘blur the lines between high-art and pop culture,’ thus implying
quite a different notion of the ‘unpopular’ (‘Festival’). SCRAM magazine,
which calls itself ‘a journal of unpopular cultures,’ has been chronicling
‘the neglected, the odd, the nifty and the nuts’ (SCRAM), whereas a past
exhibition at the Southbank Centre in London called ‘Unpopular Culture’
featured a selection from the Arts Council Collection consisting of ‘modern
British paintings, sculpture and photographs’, thereby associating with
the unpopular a notion of avant-garde, or vice versa (‘Unpopular Culture:
Grayson Perry’).
In all of these examples, the ‘unpopular’ implies something slightly dif-
ferent. What these narratives have in common, though, is that all of them
use the term ‘unpopular’ not only as a descriptive category, but also, and
more significantly so, as a normative category that serves the purpose of
symbolic distinction. The term and concept of the ‘unpopular’, then, indeed
becomes a signifier that is used to draw lines of demarcation and to position
oneself. The discourse that draws on these terms and concepts is therefore
‘primarily a political discourse’ (Tragaki 8). ‘The politics of who says what
is ‘popular’ [or ‘unpopular’, M.B.],’ writes Dafni Tragaki, ‘what it means,
and against what it is defined, and of course, when, where, and for whom,
reproduce ‘the popular’ [as well as the ‘unpopular’, M.B.] as an ideologically
pregnant category’ (8). And though we all know, we sometimes forget that
this discourse not only ‘happens’ in the field of cultural production, but
also among those who observe this very field, i.e. us.
In other words, ‘observers are considered actors in the field which, just
as all other actors, necessarily take the role of observers’, employing a
‘hermeneutics of the other’ (high culture, popular culture) to continuously

position and re-position themselves and, as Thies and Kaltmeier explain
further, ‘in relation to identity politics the field cannot be observed from
a neutral perspective without the observer’s transforming the field by
his power of vision and division’ (44). Starting from here, then, one may
ask what or in how far this present volume contributes to the discourse
on the popular and the unpopular respectively; or, to put it into a more
Bourdieusian diction, to: ‘transforming the field by […] vision and division’
(Thies and Kaltmeyer 44)? What narrations of identitarian positions and
positionings does it foster, and who or what is positioned where through
these very narrations?
Perhaps I am writing about processes that we are all aware of anyway.
And perhaps this sounds all too didactic. Still, I consider these issues worth
remembering, because, I must admit, I sometimes forget about them; for
instance, when I’m arguing with my daughter, i.e. when I am subjected to
another discourse in a familiar and at the same time unfamiliar environ-
ment, in which my capital as a scholar does not facilitate, but, somewhat
paradoxically, hinders discursive intervention in a debate that I think I am
familiar with.
So what I would like to emphasize is the necessity of acknowledging
that the descriptive and normative dimensions (and usages) of the terms
‘popular’ and ‘unpopular’, as both categories of analytical differentiation
and categories of social distinction are intertwined, at times even conflated,
both in public and scholarly debates. In other words, the discussion on
the difference between popular and unpopular is, more often than not, a
discussion on the difference between you and me, or us and them, or X and
Y, discussing the difference between popular and unpopular. And it is here,
one might argue, where the double contingency mentioned above, i.e. the
difficulties in defining the unpopular because of the difficulties in defining
its other, turns out to be highly fruitful and productive, as it allows for a
great diversity of narratives that serve the purpose of strategic positioning.
I believe that a critical awareness of both conflation and contingency is all
the more important, as (most of the) scholars in the field of popular culture
studies, I assume, take part in public and scholarly as well as private debates
on the popular and the unpopular. At least I do. Consequently, the set of
ideas and stories I produce about what is popular and what is not, in order to
act according to the various subject positions ascribed to me—which, by the
way, constitutes what Thies and Kaltmeier call the ‘microphyics of identity
politics’ (31)—is always, and necessarily, framed by ‘multi-sited contextual-
ity’ (38). This contextuality, then, should make us conceive of actors in the
38 Martin Butler
field, such as me and my daughter, as ‘networks of dispositions’ rather than

‘homogenous, coherent, and entirely self-determined subjects’ (Thies and
Kaltmeier 38). No wonder, then, that in our everyday life—negotiation of
the identitarian capital we invest for strategic purposes—my daughter and
I are not really talking to each other about what is unpopular and what is
not. We are, in fact talking, about each other (and our relationship) without
talking about each other (and our relationship) explicitly. If I told her that,
she would not believe me. No way. Considering the aforesaid, however, this
does not come as a surprise. It turns out to be part of the game.
Notes
1. Whenever I use ‘we’ in this essay, I refer to an implied readership that I

assume works in the field of popular cultural studies and, thus, has become
aware of the problems attached to the term ‘popular’. The ‘we’ is not at all
meant to suggest any generally agreed upon consensus on terms, concepts,
or normative implications, but—in accordance with the auto-ethnograph-
ical approach that this essay pursues—is supposed to denote a particularly
self-reflexive dimension of the practice of talking about un/popular culture,
which is central to my argument. Of course, this is not to imply either that
‘we’ share the same or similar experiences with this practice and the ways
of reflecting on it. In addition, the use of the first person pronoun both in
the singular and plural form is also a deliberate attempt at self-positioning
in a debate—why else should I write such a piece?
2. As already hinted at, Thies and Kaltmeier conceptualize identitarian capital
in and for a different context, thus its applicability to what I describe here
might be limited. Nevertheless, I allow myself to refer to their term and
concept as it nicely captures the processes of negotiating and positioning
that become visible in the debates on the ‘un/popular’.
Works Cited
“Festival of Unpopular Culture.” Institute for Unpopular Culture. Web. 7 Apr. 2016.
Institute for Unpopular Culture (IFUC). Web. 7 Apr. 2016.
Lüthe, Martin, and Sascha Pöhlmann. ‘Introduction: What is Unpopular Culture?’ Unpopular
Culture. Ed. Martin Lüthe and Sascha Pöhlmann. Amsterdam: Amsterdam UP, 2016. 7-29.
Print.
Maase, Kaspar. ‘Divergente Codierungen: Schwierigkeiten der Wissenstransfers zwischen
Populärkultur, Wissenschaft und Gesellschaft.’ Pop / Wissen / Transfers: Zur Kommunikation
und Explikation populärkulturellen Wissens. Ed. Susanne Binas-Preisendörfer, Jochen Bonz,
and Martin Butler. Münster: LIT Verlag, 2014. Print. 113–24.
SCRAM Magazine: A Journal of Unpopular Culture. Web. 7 Apr. 2016.

Storey, John. Cultural Theory and Popular Culture: An Introduction. 4th ed. Harlow: Pearson
Longman, 2006. Print.
Thies, Sebastian, and Olaf Kaltmeier. ‘From the Flap of a Butterfly’s Wing in Brazil to a Tornado
in Texas? Approaching the Field of Identity Politics and Its Fractal Topography.’ E Pluribus
Unum? National and Transnational Identities in the Americas / Identidades Nacionales y
Transnacionales en Las Americas. Ed. Sebastian Thies and Josef Raab. Münster: LIT Verlag,
2009. Print. 25–46.
Tragaki, Dafni. ‘Introduction.’ Empire of Song: Europe and Nation in the Eurovision Song Contest.
Ed. Dafni Tragaki. Plymouth: Scarecrow Press, 2013. Print. 1–34.
‘Unpopular Culture: Grayson Perry Selects from the Arts Council Collection.’ Southbank Centre.
Web. 7 Apr. 2016.
Big Fish
On the Relative Popularity of Zane Grey and Ernest
Hemingway 1
Dominika Ferens
Why does a man with such great talent continually deny his sensitivity and
overprotest his masculinity? He is so virile and so vast—why does he waste his
time roughhousing with playboys, trying to catch the biggest fish,
to bring that fish in the fastest […]?
—Marjorie Kinnan Rawlings on Ernest Hemingway (qtd. in Eby 94)
The rivalries between boatmen are keen and important, and they are fostered by
unsportsman-like fishermen. And fishermen live among past associations; they
grow to believe their performances unbeatable and they hate to see a new king
crowned. This may be human, since we are creatures who want always to excel,
but it is irritating to the young fishermen. As for myself, what did I care how
much the swordfish weighed? He was huge, magnificent,
and game to the end of that four-hour battle.
—Zane Grey, Tales of Fishes (42)
This paper was born of a fascination with the overlapping lives of two Ameri-
can writers who made it their business to popularize the unpopular or the
not-yet-popular. When they were not writing about not-yet-popular pursuits
and places, they traveled, fished, and hunted compulsively, leaving behind
them long trails of publicity photographs. With the rise of the internet,
hundreds of photographs of Grey and Hemingway with their trophies—big
fish, rhinos, lions, bulls, bullfighters, and natural wonders—were uploaded
onto fanpages and archive websites.2 Zane Grey (1872–1939) and Ernest
Hemingway (1899–1961) frequented some of the same fishing resorts, includ-
ing Key West and Bimini, and while they never met, biographical sources
on Gray make references to Hemingway, who is said to have so admired
Grey’s non-fiction book Tales of Fishes that he bought several copies to give
to friends. On hearing this, Grey wrote to Hemingway, inviting him on a
round-the-world fishing trip. Hemingway declined—perhaps fearing that
prolonged association with the aging pulp fiction writer might damage his
reputation (cf. May 149).
42 Dominik a Ferens
While Hemingway requires no biographical introductions, few contem-

porary readers of American literature know that Grey was once the most
revered writer of late-Romantic Westerns.3 At the height of his career, in
the 1910s and ’20s, he took millions of Americans on vicarious trips to the
Southwest, and many of his novels are still in print. One might assume
that his choice of the Western genre guaranteed popularity. Yet, there was
nothing inevitable about Grey’s rise to fame. Trained as a dentist, he should
have spent his life filling teeth. To relieve the boredom of dentistry, he began
writing fiction based on his family’s pioneering days in eighteenth-century
Ohio, and then moved on to stories of adventure set in the Southwest.
But initially his choice of setting did not guarantee a wide audience. As
cultural studies scholar Lee Clark Mitchell observes (and it is an electrifying
observation), in the nineteenth century, when Grey was growing up, most
Americans had little interest in what was going on in the West and no
intention of ever going there (cf. 5). The cowboy was not yet a national icon.
It was President Theodore Roosevelt and Owen Wister who valorized the
West by writing about their ranching life for select audiences; it was Grey
who fictionalized it for millions. 4
Meanwhile, Ernest Hemingway, a Modernist who expressed deep
contempt for popularity, gradually won both critical and popular acclaim,
to eventually become a ‘classic’ in the American canon. On the surface,
then, it would seem that Grey and Hemingway are a perfect illustration
of the two-tier system described by Pierre Bourdieu: the literary f ield
sustains two economic structures, one that produces ‘bestsellers’, the other
‘classics’. Large publishing houses with a rapid turnover and large print
runs tend to invest in ‘bestsellers’; smaller houses use ‘talent-spotters’ who
are able to ‘sense the laws of a market yet to come’. In a cultural climate
in which ‘success is suspect’, such small publishers invest in little-known
authors and groom them, with the help of reviewers and literary critics,
to become ‘classics’, thus earning a long-term profit on their (ostensibly)
throwaway investment (cf. Bourdieu 101). Thus, the very features that
potentially make a book popular in one period (such as the right propor-
tion of the familiar to the unfamiliar in an easily recognizable genre) may
make it unpopular in another, or else popular with a different group (for
instance, novels originally written for adults sometimes slide into the
category of juvenile fiction). Conversely, books that usher in new genres,
elude generic categorization, or challenge the broad reading public’s sense
of decorum, sometimes manage to interpellate a new reading public, which
builds its distinction around a preference for the unpopular. Eventually,
with the right institutional backing, some originally unpopular books
Big Fish 43
enter national canons and are read by generations of high-school and

university students.
But the case of Grey and Hemingway is not as clear-cut as Pierre
Bourdieu’s theory of ‘bestsellers’ and ‘classics’ would suggest.5 It is worth
discussing these two writers together because their works and careers raise
questions about the criterion of ‘popularity’ used to sort writers into boxes,
and about the cachet attached to ‘unpopularity’. In addition to thinking
about (un)popularity in terms of the book marketplace, this paper will
explore the thematic continuities in the work of Grey and Hemingway to
question some of the distinctions made between popular and highbrow
subjects and forms. What I see is an economy of the popular/unpopular,
a continuous flow between these elusive categories. It is not that I want
to reclaim Grey as an unrecognized ‘classic’; the formulaic character of
most of his fiction does not permit such a repositioning. What I would
like to show is that, writing in more or less the same period, Grey and
Hemingway consistently traded in the not-yet-popular, which was often
synonymous with the exotic; that they used similar strategies of controlling
their public image to boost book sales; and that they were both read by
millions, though perhaps not the same millions. These two Americans
of respectable small-town middle-class background (Grey, the son of an
Ohio dentist; Hemingway, the son of an Illinois doctor) both managed to
write themselves out of the middle class by being popular with the middle
class. Drawing on Robert W. Trogdon’s 2007 study of Hemingway’s lifelong
relations with Scribners, I will try to show how Hemingway negotiated
the problem of ‘popularity’, endlessly vacillating between desire and fear
of popular recognition. As there is no comparable archival study of Zane
Grey’s relations with his publisher, Harper and Brothers, I will draw on
biographical sources to show how he dealt with the waxing and waning
of his own popularity.
The Book Marketplace and Changing Readerships
Stuart Hall and Elizabeth Traube single out the early decades of the twenti-
eth century, when Grey and Hemingway made their careers, as a period of
technological and social transformations that reorganized popular culture.
‘Local entrepreneurs who catered to class-specific urban markets gave way
to oligopolistic corporations producing for national markets’ (Stansell and
Peiss qtd. in Traube 140). In the nineteenth century, print runs had been
relatively small in comparison with those in the 1910s and ’20s. Grey’s books
44 Dominik a Ferens
were among the first to sell in hundreds of thousands. Even Hemingway’s

avant-garde Modernist novels sold in tens of thousands.
Grey and Hemingway were both read by crossover audiences: Grey by
middle- and low-brow audiences, Hemingway by middle- and high-brow
audiences. Within their lifetime, a rift began to form within the middle-
brow readership: some continued to embrace the traditional ‘producer
ethic based on work and self-denial’, while others were attracted to the
‘emergent ethic of consumption’ and ‘a new promise of sensory excite-
ment, sexual expressiveness, and emotional release’ (Traube 140–41). Grey
and Hemingway clearly espoused the ethic of consumption. Posing for
publicity photographs, they modeled a lifestyle for their fans,6 as did their
literary characters. If those characters chose to live modestly—even asceti-
cally—they did so in exciting, faraway places. The large print runs made
possible by the new publishing industry meant generous royalties that
gave both men the freedom to travel and write about places inaccessible
to most of their contemporaries. Grey was one of the earliest tourists in the
American Southwest; by writing about this region, he was able to tap into
urban Americans’ longing for wide-open spaces. Rather than cash in on a
pre-existing fad, he created the fad himself, and when masses of tourists
following in his footsteps trampled his beloved natural wonders, he sought
new pastures. Likewise, Hemingway drew his readers toward exotic places,
from the Left Bank in Paris, through rural Spain and East Africa, to Cuba
and the Florida Keys.
Both writers offered sensory excitement but learned to temper their im-
agination so as to maintain the middlebrow readership. For Grey this meant
completely suppressing his interest in sex. As critic Jane Tompkins pointed
out, Grey powerfully projected the erotic onto the Western landscapes—a
skill that elevates him above the average pulp writer.7 Writing in the more
sexually liberated post-First World War times, Hemingway frequently
explored heterosexual relations but had to avoid overt depictions of the
erotic and to suppress his interest in the non-heterosexual.
Like cultural change anywhere, the developments in the US of the early
twentieth-century meant that ‘some cultural forms [were] driven out of the
center of popular life […] so that something else [could] take their place’
(Hall 443). Grey’s romances, styled on Nathaniel Hawthorne’s and Robert
Louis Stevenson’s, were increasingly pushed out of the center to be read
mainly by immigrants and young adults. Meanwhile, middle-brow readers
acquired a taste for Hemingway’s ascetic style and innuendos, embracing
him as the voice of a generation. But this cultural process did not happen
spontaneously. By examining Hemingway’s writings we can observe how
Big Fish 45
Hemingway actively pushed older, less modern writers out of the center to
make room for ‘the new’.
The Western Legacy
Both Grey and Hemingway can be viewed as heirs to the rancher-turned-

president, Theodore Roosevelt8 and to Owen Wister9 who elevated the
Western from pulp to classic in The Virginian. Aligning themselves with
Roosevelt and Wister, Grey and Hemingway built their careers on an ethos
Jane Tompkins identified (with reference to Grey) as ‘being, acting, and
writing [which] formed a perfect continuum’ (163). Grey met his frontier
hero Charles Jesse ‘Buffalo’ Jones at a lecture in New York and followed him
out to Arizona. It was to Jones and the Mormon rancher Jim Emmett that
he owed his first heady experience of pioneering in the desert, fictionalized
in The Last of the Plainsmen (cf. May 48-52). Henceforth, Grey would spend
part of each year in the Southwest, hunting, trekking, and keeping notes
that would later be transformed into fiction or articles for men’s magazines.
Hemingway, in turn, was a belated cowboy who spent long periods on
‘dude ranches’ in Wyoming and Idaho. Few of his aficionados, however, are
aware of these episodes because he wrote so little about them. Why he chose
not to do so can be explained by the fact that by the 1930s pulp writers and
Hollywood studios had thoroughly exploited the old frontier states. The
logic of tourist and literary consumption drove Hemingway to seek other
frontiers in Europe, Africa, and the Caribbean, even though he sometimes
retreated to the West to write (for instance during the Great Depression).10
The Masculine Code
Arguably, one of the sources of Grey’s and Hemingway’s popularity, par-

ticularly with male readers, was the fact that they were heirs to the ‘Code of
the West’ popularized by Wister’s The Virginian. The eponymous narrator
travels from the East Coast to a Wyoming Ranch, where he gradually learns
the code by observing the modest, laconic, stoical Virginian. He sketches
scenes that illustrate the Virginian’s protective attitude toward women and
all weaker beings (including the narrator and an eccentric old hen) and the
Virginian’s sense of responsibility for the local community. At times, being
responsible means taking the law into his own hands. Like the Virginian,
Wetzel in Betty Zane, Hare in Heritage of the Desert, and Lassiter in Riders
46 Dominik a Ferens
of the Purple Sage do not shirk from lynching cattle thieves, kidnappers,
despots, and bad Indians. Grey took over the masculine code wholesale,
creating a series of male characters who risk their lives to protect women’s
honor, expecting nothing in return, not even love.
In line with Roosevelt and Wister, Grey believed the Frontier to be crucial
for hardening white men in body and spirit. According to eugenicists, as a
result of ‘overcivilization’, the white race could lose its dominant position
in the United States and in the world.11 Whites were the only race capable of
bringing progress and making full use of the continent’s natural resources.
As critics Richard Slotkin and Lee Clark Mitchell have argued, the wide-
spread anxiety over the condition of white masculinity was associated with
economic and cultural change. The industrial revolution had pressed the
small farmers and entrepreneurs into factories and offices, where obedience
and productivity was valued higher than individualism and resourcefulness.
The Civil War and the First World War had stripped many men of the faith in
righteous, heroic struggle. Rightly assuming that American male factory and
office workers longed to identify with heroes who were their own antithesis,
Grey created many hypermasculine protagonists who had the freedom
to ride, track and shoot game, herd cattle across wide open spaces, and
dispense justice. Yet, Grey was just as interested in disoriented, indecisive
men weakened by illness. For instance, the Easterner Hare in Heritage of
the Desert learns ranching and survival skills in the uplands of Utah, but
he often hesitates to use arms, and spends days in hiding, outnumbered
by thugs, and unable to make a heroic gesture. Critic Alf F. Wallee goes so
far as to say that the gradual domination of society over the individualistic
hero is what distinguishes Grey’s heroes from Wister’s Virginian.
Hemingway’s indebtedness to nineteenth-century models of masculinity
is less apparent,12 but the fact that he jeered at heroic codes in his fiction
should not blind us to the centrality of heroism in his fiction and to his
insistence on developing codes of conduct better suited to life in the shadow
of modern warfare. Equipped with a personal code of conduct, Hemingway’s
heroes maintain dignity in a world where all authorities, human and divine,
have failed. In the face of chaos and suffering they adopt a stoical stance.
While they have few opportunities to mete out justice, they care about it
profoundly. To allow the reader to observe how the personal code works,
Hemingway juxtaposes his heroes with antiheroes who lack the inner
compass and rely on second-hand codes. As a self-conscious modernist,
Hemingway rejected idealism, but he continued to valorize some of the key
themes of Romantic literature, including masculinity, death, and nature.
Like the frontier mythmakers, he insisted on nature’s regenerative powers.13
Big Fish 47
It may well have been the presence of these themes that led Owen Wister to
take an interest in Hemingway’s career and to put in a good word for him
at Scribners (cf. Trogdon 74–75).
The Trouble with Femininity
Inflating the value of masculinity inevitably leads to the devaluation of

femininity. Grey and Hemingway were both traditionalists, in the sense
that they assumed only men are bound by hero code. Female characters
(for instance, Grey’s Jane Withersteen or Hemingway’s Brett Ashley) may
develop a code of their own, but they are usually too weak and emotional
to stick to its rules.
Within Grey’s and Hemingway’s lifetime, the social position of white
American women changed drastically. Large numbers of women began
earning a living, first as factory and office workers, then, with greater
access to education, in the better-paid professions. They began to show
their ankles, practice sports, sue for divorce and, after 1920, to vote. With
the increased migrations of rural populations to cities at the end of the
nineteenth century, and the rise of rooming-house districts where men
and women lived in rented apartments, far from the inquisitive gaze of
families and neighbors, sexual norms grew less restrictive (cf. Meyerowitz
92–115). The female characters in Grey’s and Hemingway’s fiction—fian-
cées, shepherdesses, ranchers, nurses, and guerilla fighters—shared many
features with the New Woman who no longer needed to be the ‘angel in
the house’ to be admired. Though Grey liked to dress his New Woman in
period costumes, she was arguably far more liberated and powerful than
Hemingway’s New Woman who revealed her ankles, drank, and smoked. In
fact, Grey devoted an entire novel, The Light of the Western Stars (1913), to a
New Woman. Madeline Hammond, who comes to New Mexico from the East
to recover and rebuild her life, becomes a successful businesswoman, and
it is she who plays the role of rescuer in the novel: she crosses the Mexican
border on horseback to save an American kidnapped by revolutionaries.
But healthy, active, and often f inancially independent though such
fictional characters might be, most of them depend on male protection.
Grey’s androgynous Bess in Riders of the Purple Sage belongs to a band of
horse rustlers and is known in town as the Masked Rider who can outride
anyone. But when wounded in a scuffle, she becomes passive, completely
dependent on the male protagonist, puts on weight, and starts looking
like a woman. Hemingway’s Brett Ashley undergoes a similar, though less
48 Dominik a Ferens
obvious, transformation. Whereas initially she goes wherever she wants and
is sexually adventurous, at the end of The Sun Also Rises she calls on the
narrator to come to her rescue, acting the part of the traditional damsel in
distress. In this respect, Hemingway’s paradigmatic Modernist novel is as
traditional as most of Grey’s romances—a fact that may have contributed
to its readability.
Nature as Asylum
Yet another popular theme that runs through the work of Grey and Heming-
way is the turn away from middle-class urban America toward the bosom
of nature. Grey sought adventure in the Southwest, sublime landscapes,
big game, and big fish. For Hemingway it was adventure at war, at Spanish
village fiestas, in Kenyan savannahs, and on deep-sea fishing trips. In fact,
he immersed himself in premodern worlds so obsessively that Saul Bellows
made him the object of a burlesque, Henderson the Rain King (1959).
Since the turn of the nineteenth century, immersion in nature and the
cultivation of primitive savagery in young boys had been advocated by
American physicians as remedies for ‘overcivilization’, ‘effeminacy’, and
‘neurasthenia’ to which white middle-class men were supposedly succumb-
ing (cf. Bederman 77–120). Such views gave rise to the scouting movement,
of which Grey was a lifelong member and propagator. In his fiction, nature
has regenerative power: it heals the sick and disheartened, gives shelter,
disciplines the body, builds up the spirit, and, no less importantly, delights
the eye. Grey’s protagonists immerse themselves in nature time and again.
Perhaps the most idyllic natural asylum in Grey’s prose is Surprise Valley in
Riders of the Purple Sage, which is only accessible through Deception Pass,
overhung by the Balancing Rock. One of the protagonists comes across
Surprise Valley by accident, and when he first takes a look around,
Rabbits scampered before him, and the beautiful Valley quail, as purple
in color as the sage on the uplands, ran fleetly along the ground into the
forest. It was pleasant under the trees, in the gold-flecked shade, with the
whistle of quail and twittering of birds everywhere. (89)
There is a rambling brook, a spacious cave, and plenty of food. The cave
is conveniently equipped with clay utensils—relics of an extinct Indian
tribe. Surprise Valley gives shelter to two pairs of lovers in succession. It
heals their wounds and erases painful memories. For the first couple it is a
Big Fish 49
temporary asylum, but for the second it is the final destination: Balancing
Rock collapses and ‘the outlet to Deception Pass closed forever’ (238).14
Likewise, Hemingway as a boy was an amateur scout. He wrote memoirs
of trips to the Illinois woods and Indian villages with his father, and in child-
hood photographs he is the splitting image of Huckleberry Finn, complete
with dungarees, a straw hat, and a fish dangling from his hand. We know
that his romantic view of nature was severely shaken by the Second World
War experience as well as naturalist philosophy, for nature in his fiction
is usually indifferent to human dramas. Yet, Hemingway continued to
treasure rituals associated with nature, and the longing for its regenerative
power kept surfacing in his work—perhaps most forcefully in The Sun Also
Rises. There, two American men experience the soothing power of a Spanish
forest and a stream teeming with fish. The shade of the trees protects the
anglers from the midday sun; the stream cools their bodies and their wine
bottles; overhanging the stream are ferns ideal for wrapping the fish they
catch. ‘We stayed five days at Burguete and had good fishing. The nights
were cold and the days were hot, and there was always a breeze even in
the heat of the day. It was hot enough so that it felt good to wade in a cold
stream, and the sun dried you when you came out and sat on the bank’ (125).
The men cannot stay in this idyllic spot forever—they must return to their
work and irresolvable conflicts—but they can always return to the stream
in Burguete: the narrator has been there before, and no falling rock will bar
access to it. Nature as asylum, nature as a regenerative force—such themes
had been present in American literature since their introduction by the
Transcendentalists. Tapping into these time-tried themes, both Grey and
Hemingway appealed to a broad American readership.
Books as Commodities
Nothing could be further from the marketplace and base financial concerns
than the ideal of living the ‘strenuous’ rather than the ‘good life’15 and
retreating from time to time into premodern worlds. Yet, the books that
convey these themes are commodities which transform aesthetic pleasure
into capital. Hemingway’s posthumously published novel Islands in the
Stream (1970) includes a humorous conversation about art that takes place
in the Bahamas between a white painter and a black barman. What the
black man has trouble understanding is how the white man manages to
make a comfortable living by painting scenes from the everyday life of poor
people like himself.
50 Dominik a Ferens
‘You sell those pictures you paint all the time?’ [asks the barman]
‘They sell pretty good now’. [the painter replies]
‘People paying money for pictures of Uncle Edward. Pictures of Negroes
in the water. Negroes on land. Negroes in boats. Sponge boats. Squalls
making up. Water spouts. Schooners that got wrecked. Schooners build-
ing. Everything they could see for free. They really buy them?’
‘Sure they buy them. Once a year you have a show in New York and they
sell them’. (16–17)
Note that the painter in this passage feigns lack of agency in the process of
marketing his own work. He suggests that it becomes popular spontane-
ously. The barman asks, ‘You sell those pictures you paint all the time? […]
They really buy them?’ obviously suggesting that such paintings would
not sell in the Bahamas. To this the painter responds: ‘you have a show’
(instead of I have a show) and ‘they sell them’ instead of ‘I sell them’. I find
this pronoun substitution telling, because it divorces art from the business
of selling art. It also absolves the artist of any suspicion that he might be
knowingly exploiting the exotic potential of the Bahamas. Yet, the fictional
artist’s choice of subjects is guided by the awareness of what is popular
among some segments of New York society, as were Hemingway’s choices.
Hemingway’s literary settings are clearly the result of his search for not-
yet-popular literary terrains whose symbolic value was as yet undetermined.
Spain was one such terrain. Encouraged by Gertrude Stein and Alice B.
Toklas to attend a bullfight, Hemingway traveled there. He subsequently
spent years collecting insider knowledge about this spectator sport and
writing a non-fiction book expressly designed to popularize something that
for most Americans was an unfamiliar (and repulsive) subject.
To say that books about bullfighting in Spain or deep-sea fishing in the
Caribbean were popular during Hemingway’s lifetime is, of, course, an over-
statement, since Scribner’s sold a total of just 20,780 copies of Hemingway’s
non-fiction book about bullfighting, Death in the Afternoon, and 133,650
copies of The Old Man and the Sea. Nonetheless people in the United States
did pay a great deal of money for ‘pictures of Uncle Edward’ (or someone
very much like him—old Santiago in The Old Man and the Sea).
Unlike the artist in Islands in the Stream, though, Hemingway took an
active interest in the marketing of all his work, badgering his publisher to
spend more money on advertising, making sure his novels were serialized
in prestigious magazines, and collecting far more review clippings from
the syndicated press than Scribners did in their archive. For instance, in a
letter to his editor, Hemingway wrote: ‘What about running a few chapters
Big Fish 51
from Death in the Afternoon [in Scribner’s Magazine] just before it comes
out—Do you think that would be good for it. The book I mean?’ (qtd. in
Trogdon 106). Such requests pepper his correspondence with Scribners, as
do complaints that not enough money was being spent on publicity,16 even
though the publisher’s advertising budget for some novels approximated
his earnings (and, in the case of For Whom the Bell Tolls, exceeded $40,000
[cf. Trogdon 260]).
The Unbearable Lightness of Popularity
Grey’s attitude to popularity can be described as ambivalent. There is no

question that he sought it, writing the kinds of books that would appeal
to the broadest possible readership. The following f igures reported by
biographer Stephen J. May reflect the measure of Grey’s popular success:
27 million copies of his books were sold in his lifetime; after his death,
as late as 1991, his novels were still selling at the rate of 500,000 per year;
at the height of his career Grey earned between $50,000 and $80,000 per
serialized novel (in times when the dollar was worth more than ten times
what it is today); nine of his novels made the bestseller list—the highest
score of any writer before 1950 (May 149–51). Yet, his unpopularity with
reviewers and critics caused him anguish, for he never abandoned the
hope of becoming a great American author, remaining oblivious to the
shifting distinction between middlebrow and highbrow literature, which
followed aesthetic and philosophical rifts. Book reviews—which became
increasingly disparaging as Grey’s fiction grew more formulaic—plunged
him into depressions. But his career was brilliantly managed by his wife
Lina Grey, who financed the publication of his first novels and, after 1910,
negotiated lucrative contracts with book and magazine publishers. This
left Grey free to do what he enjoyed most: traveling, hunting, fishing, and
writing.
Hemingway had to work much longer to become a household name
in the United States, and while he scoffed at those more popular than
himself, there is ample evidence that he longed for recognition. Early on,
Hemingway’s talent was acknowledged and fostered by fellow writers such
as Sherwood Anderson, F. Scott Fitzgerald, Owen Wister, and Harold Loeb.
It was Fitzgerald who helped Hemingway secure his first contract with
Scribners. For over two decades, Hemingway had his personal liaison and
editor at Scribners, Maxwell Perkins, who cosseted and cajoled him into
producing work that broke novelistic conventions yet was accessible to a
52 Dominik a Ferens
broad readership. But until the public got used to Hemingway’s style, he
remained a promising minor author.
The fact that he came to be known as a novelist rather than a short-
story or non-fiction writer can be seen as a by-product of trying to secure
popularity. Short fiction was his forte, but his first publisher, Liveright,
and then Scribners pressured him to write novels in order to make his
name, and then to remain popular (cf. Trogdon 19, 157). Scribners used
his short stories strategically, placing them in Scribner’s Magazine and
elsewhere, as a way to keep his name in the reading public’s mind during
the long periods when he was unable to produce a novel. He found writ-
ing long fiction grueling and often asked for extended deadlines. When
writing long fiction, his aesthetic judgment—unerring in the case of short
stories—often failed him.
In correspondence with Perkins, Hemingway explained his understand-
ing of popularity: ‘you can’t be popular all the time unless you make a career
of it like Mr. Galsworthy, etc. I will survive this unpopularity and with one
more good book of stories (only these are going to be with plenty of action
so they can understand them) and one good novel you are in a place where
they will have to come around and eat shit again’ (qtd. in Trogdon 160). This
passage suggests Hemingway was aware that some readers were baffled
by his more experimental stories, so when sequencing short stories he
alternated the more straightforward writing with the more opaque stories
in which meaning is compressed between the lines. In correspondence with
Perkins he explained: ‘If you want to make a living out of it, in addition every
so often, without faking, cheating […] you have to give them something they
understand and that has a story—not a plot—just a story they can follow
instead of simply feel, the way most of the stories are’; ‘I know the book needs
one more simple story of action to balance some of the difficult stories it
contains’ (qtd. in Trogdon 6). What we see here is Hemingway knowingly
balancing popular and unpopular.
More ideas about popularity were occasioned by the planned release
of The Green Hills of Africa. About this novel Hemingway write to Perkins:
It may be what people want to read. […] I believe it should sell better
than 20,000 [it actually sold 12,532]—Winner Take Nothing had not one
element of popularity and everything to make it unpopular. This book
has so many elements that should make people like it—it has a long and
good story […] plenty of story interest, suspense, and conversation, and
it takes people bodily into a place where they have never been and most
of them can never go. (qtd. in Trogdon 155)
Big Fish 53
Courting popularity, Hemingway nonetheless professed contempt for the

market reader, whom he sometimes imagined as a female member of the
Book-of-the-Month Club. To please such clubwomen, he argued, publishers
try to censor his prose: ‘[I] will not have any pressure brought to bear to
make me emasculate a book to make anyone seven thousand dollars’ (qtd.
in Trogdon 109). Elsewhere he wrote: ‘I’m the guy who’s been the worse
emasculated of any in publishing’ (qtd. in Trogdon 116). As evidence, he
collected cases when his competitors got away with the use of swearwords.17
But he also made part-conciliatory part-provocative gestures toward the
obnoxious clubwoman, even putting her into one of his books. Death in the
Afternoon, a whimsical guidebook to bullfighting in Spain, is repeatedly
interrupted by the author’s dialogues with an imaginary lady-reader who
is curious about bullfighting but somewhat resistant to its appeal, easily
bored, and inclined to stereotypes. For instance, during her third appear-
ance in the book they have the following exchange:
Now, what puzzles you, madame? What would you like explained?
Old lady: I noticed that when one of the horses was hit by the bull, sawdust
came out. What explanation do you have for that, young man?
Madame, that sawdust was placed in the horse by a kindly veterinarian
to fill a void created by the loss of other organs.
Old lady: Thank you, sir. You made me understand it all. But surely the
horse could not permanently replace those organs with sawdust?
Madame, it is only a temporary measure, and one that no-one can approve
of. (79)
Although the most obvious function of these dialogues is to distinguish

this book from standard guidebooks and provide comic relief, they are a
poignant record of his anxiety about his work’s reception.
Even more obsessive than his imaginary bouts with the market reader are
Hemingway’s efforts to avoid the aura of popularity. For instance, to control
the cultural meaning of Death in the Afternoon, he refused Cosmopolitan’s
offer to serialize several chapters (cf. Trogdon 107). He also balked at the
proposition that it be offered to the Book-of-the-Month club to boost sales in
a stagnating Depression Era market. ‘If anyone so acts as to put themselves
out as a book of the month they cannot insist in ramming the good word shit
or the sound old word xxxx down the throats of a lot of clubwomen’ (qtd.
in Trogdon 109). (Significantly, in 1940 Hemingway did sign a contract with
the Book-of-the-Month Club to publish For Whom the Bell Tolls [cf. Trogdon
208–11]). Much of his correspondence with Perkins concerned the need to
54 Dominik a Ferens
eliminate/retain obscene language, particularly the words ‘fuck’ and ‘shit’.

Perkins repeatedly warned that the inclusion of such words would lead
to courts banning the books; Hemingway fought valiantly for each ‘fuck’
claiming that this word made his dialogues truly masculine and authentic.
Exposing himself to potential libel suits was yet another strategy for
making himself unpopular. His first long piece of prose, Torrents of Spring,
was an extended parody of Sherwood Anderson’s style. Such an exercise
in self-positioning against a highly respected American author was bound
to offend many. Throughout his career, Hemingway continued to shoot
poisoned arrows (overtly and covertly) at his competitors. For instance,
Scribners fought a veritable battle to prevent him from calling Gertrude
Stein a ‘bitch’ in The Green Hills of Africa (cf. Trogdon 159–61). (Arguably,
though, the very strategy which made Hemingway unpopular with some
endeared him to others who enjoyed such irreverence.)
One of the most interesting attempts to position his art against popular
literature is in the two opening chapters of The Sun Also Rises. Why the
narrator Jake Barnes would spend two chapters gossiping about Robert
Cohn, the most pathetic expatriate in Paris, only becomes clear when we
interpret the novel’s opening as an exercise in self-positioning in the field
of American literature and, simultaneously, in the field of morality. By
devaluing Robert Cohn as a writer and a man, Jake introduces us to his
own standards. He sniggers:
That winter Robert Cohn went to America with his novel and it was
accepted by a fairly good publisher. […] The publishers praised his novel
pretty highly and it rather went to his head. […] He had been reading W.H.
Hudson. That sounds like an innocent occupation, but Cohn had read and
reread The Purple Land. The Purple Land is a very sinister book if read
too late in life. It recounts splendid imaginary amorous adventures of a
perfect English gentleman in an intensely romantic land, the scenery of
which is very well described. (8–9)
Hemingway could have easily substituted the late-Romantic novel The

Purple Land with Zane Grey’s The Riders of the Purple Sage, which also
abounds in ‘splendid amorous adventures’ and purple prose about ‘scenery’.
Purple or popular prose serves Hemingway as the antithesis of the laconic
fact-filled cables Jake sends to an American newspaper. Since Hemingway
tended to link literary style with moral conduct (calling his own ‘straight’
and ‘true’),18 he made the fictional hack writer Robert Cohn a henpecked
bore with dated chivalric notions. Thus, from the beginning of the novel
Big Fish 55
the reader is expected to trust Jake, a hard-boiled reporter with no romantic

illusions.
Most people familiar with the Paris expatriate community instantly
recognized in Robert Cohn a caricature of Harold Loeb, an American writer
who had been supportive of Hemingway. Several years later, in Death in the
Afternoon, Hemingway attacked another writer with romantic notions,
Waldo Frank, whose travel narrative Virgin Spain had allegedly become
popular through fakery and ‘bedside mysticism’ (46–47). But this was a
head-on attack, unmitigated by a fictional name. It is important to un-
derstand that Hemingway was not merely being petty when he maligned
fellow-writers Harold Loeb and Waldo Frank; he refused to cut the poten-
tially libelous material because he clearly had a stake in driving out an old
literary practice from ‘the center of popular life […] so that something else
[could] take [its] place’ (Hall 443). That ‘something else’ was a literature
distinguished by formal innovation and a quality that would come to be
known as the hipster ethos.19
Conclusions
The literature Hemingway attempted to drive out on his way to popular

success had not always been popular. It was Zane Grey, among others,
who had made it popular. Hard as is it is to imagine, Harper and Brothers
rejected Grey’s first three novels before he convinced them to publish his
fourth, set in Utah, Heritage of the Desert (1910). It was billed as ‘a rushing
story […] full of action, in which men are swayed by primitive motives,
facing death carelessly’ (May 64). Having made a profit once, Harper and
Brothers never let Grey go. Though the sales of his books eventually dropped
off, some remain in print in Dover Thrift Editions. As the audience for the
romance genre shifted from the middlebrow to the lowbrow, Grey’s chances
of becoming a ‘classic’ dwindled while Hemingway’s increased. Unable to
reconcile his aspirations with his actual status of a popular genre writer,
ridiculed by reviewers for his ‘purple prose’, the 51-year-old Grey wrote but
never published ‘My Answer to the Critics’. In it, he restates his creed that a
writer should ‘use his gifts toward the betterment of the world’ and ‘write
of the struggle of men and women toward the light’. Rejecting the critics’
assessment of his prose he asked them to refer to the real authorities—’your
janitor, your plumber, the fireman and engineer’ (qtd. in May 134). The audi-
ence for some of Hemingway’s fiction also grew younger and less aestheti-
cally sophisticated. A headline in the New York Times on 8 December 1968
56 Dominik a Ferens
read: ‘Ernest Hemingway and the pursuit of heroism: Hemingway makes

an ideal hero for youth’. This headline also draws attention to the thematic
continuity between Grey’s and Hemingway’s fiction; masculinity, courage,
honor, and genuine risk-taking are central to both, even if Hemingway’s
prose tends to emphasize ‘struggle’ over ‘light’. Thus, the overlapping careers
of Grey and Hemingway show us the workings of ‘the cultural escalator’
imagined by Stuart Hall to explain how certain popular forms gradually
appreciate in cultural value while others ‘cease to have cultural value and
are appropriated into the popular’ (448).
Notes
1. Short fragments of this paper were previously published in an article in-

troducing Zane Grey to Polish audiences, ‘Zane Grey’, Amerykański western
literacki w XX wieku. Między historią, fantazją a ideologią, eds. Agata Preis-
Smith and Marek Paryż (Warszawa: Czuły Barbarzyńca, 2013), 36–57.
2. There are 10,000 photos of Hemingway at the John F. Kennedy Library in
Boston and 2,000 more in Havana, Cuba.
3. Together with Grey’s record book sales, his world fishing records have fallen
into oblivion. ‘The work of pioneers was jettisoned’, wrote a belated fan in
1992. ‘There is no recollection of Zane Grey’s 582-pound broadbill swordfish,
his 63-pound dolphin, his 758-pound tuna, or his 1,036-pound tiger shark.
But the cruelest blow of all came when the larger Pacific sailfish, whose
scientific name honored Zane Grey, was lumped with the smaller Atlantic
subspecies’ (Reiger 236).
4. Eventually the millions turned to Western movies which Grey was, in fact,
instrumental in popularizing. He sold movie rights to Hollywood studios,
and when they insisted on shooting papier-mâché landscapes, Grey moved
his family to Los Angeles and set up his own film company which shot on
location (May 104–10).
5. Another author who has slipped in and out of the categories of the ‘popu-
lar’ and the ‘unpopular’ is Owen Wister, whose The Virginian (1903) started
out as a ‘highbrow’ version of the ‘lowbrow’ Western. Highly praised by
Henry James, it gradually entered the American literary canon. As the gen-
eral public grew more sophisticated, The Virginian lost its cachet. The 1987
Polish translation is stacked in the children’s section of public libraries.
6. Grey’s lifestyle often made national news, as evidenced by the following
New York Times headlines: ‘Zane Grey Buys Schooner’ (21 August 1924),
‘Zane Grey Goes Fishing in Faraway Seas: Tells of Battles with Gigantic
Swordfish, Tuna, and Sharks in the Blue Waters of the Pacific’ (12 July 1925);
‘Zane Grey Gets Big Fish: Lands 582-Pound Swordfish after Five-Hour Fight
off California’ (1 July 1926). The press also lionized Hemingway—so much
Big Fish 57
so that Gabriel Garcia Lorca, who had never met Hemingway but caught a
glimpse of him once, recalled: ‘I recognized him immediately, passing with
his wife Mary Welsh on the Boulevard St. Michel in Paris on a rainy spring
day in 1957’ (New York Times 26 July 1981).
7. What Jane Tompkins intuited but did not know was that Grey had been
immensely interested in sex and that he did, in fact, write about his sexual
exploits, though not in print. As a public figure, Grey strictly adhered to the
Victorian moral code. That he had led a sexually liberated life only became
apparent in 2005, when his encrypted sex diaries came to light. See Thomas
H. Pauly, Zane Grey: His Adventures, His Women (2005).
8. Hemingway once disparagingly wrote to his editor, ‘I am working on a long
plan instead of trying to be popular every day like Mr. Roosevelt’ (qtd. in
Trogdon 160). Yet, we know from biographers that Hemingway lionized
Roosevelt as a huntsman and national hero. For an account of Hemingway’s
safari in Kenya, where he hired the very same guide who had worked for
Roosevelt 20 years earlier, see Reynolds (155-67). Hemingway’s grandson
corroborates this story, giving the guide’s name, Philip Percival. He also
explains that in the 1930s Hemingway ordered a ‘military version of the .30-
06 bolton-action rifle […] essentially the weapon that Teddy Roosevelt took
with him to hunt in Africa’ (Patrick Hemingway xvi–xvii).
9. Owen Wister actually supported Hemingway in the publishing business,
advising Scribner’s to serialize A Farewell to Arms (cf. Trogdon 74).
10. Hemingway’s annual retreats to the L-T ranch in Wyoming are discussed,
among others, by Vaill (62–65) and Hawkins (141–42).
11. Gail Bederman in Manliness and Civilization (1995) and Richard Slotkin
in Gunfighter Nation (1992) examine white masculinity at the turn of the
nineteenth and twentieth century.
12. Masculinity in Hemingway’s prose is discussed in depth by Thomas Stry-
chacz in Hemigway’s Theatres of Masculinity (2003) In Ernest Hemingway:
Machismo and Masochism (2005), Richard Fantina confronted the feminist
accusations that Hemingway enacted the worst kind of masculinism. Most
biographers and literary scholars who have written on Hemingway since
the rise of gender studies make some reference to his fraught relation with
masculinity.
13. Hemingway’s belief in the regenerative power of nature is less apparent
than Grey’s because it is tempered by his fatalism. Yet, as Susan B. Fegel
points out, Hemingway ‘grew up in the midst of an environmentalist awak-
ening [...]—the so-called back to nature movement’—a response to rapid
industrialization and the hunting frenzy that eliminated countless animal
species (239). Taught to appreciate the wilderness by his father, he sought
contact with unspoiled nature in the Spanish highlands around Burguete
(depicted in The Sun Also Rises), on the plains of the Serengeti (depicted in
The Green Hills of Africa), and, throughout his life, out at sea which ‘once
you are out of sight of land, [...] is the same as it has ever been since before
58 Dominik a Ferens
men ever went out on it in boats’ (Hemingway qtd. in Fegel 241). Even if one
can only enjoy brief moments of respite from modernity in natural retreats,
the compulsion to do so is evident in Hemingway’s fiction and in his life.
14. Attesting to the lasting inspiration of Grey’s romantic vision of nature is the
following blog http://desertspiritpress.net/2013/06/05/zane-grey-solitude-
and-the-western-hero/ posted by Brad Karelius on 5 June 2013. Karelius is
the pen name of an academic and Episcopalian pastor, author of The Spirit
in the Desert: Pilgrimages to Sacred Sites in the Owens Valley (2009).
15. ‘The Strenuous Life’ is the title of an influential 1899 speech by Theodore
Roosevelt about ideal American manhood. It was subsequently expanded
into The Strenuous Life: Essays and Addresses (1900).
16. Trogdon gives the figures for Scribner’s advertising expenditures in Appen-
dix 2 (260). They range from in 1926–27 $6,557.93 for The Sun Also Rises to
$43,567.09 in 1940–41 for For Whom the Bell Tolls.
17. Accusations of nihilism, the use of obscene words, as well as representa-
tions of sex, debauchery, and senseless death resulted in many of Heming-
way’s books being banned in Europe and the United States.
18. For example, Hemingway wrote to his editor about The Green Hills of Africa
that ‘it is straight and absolutely true autobiography with no pulling of
punches or lack of frankness’ (qtd. in Trogdon 155). He defended Death in
the Afternoon as ‘a straight book on bullfighting’ (qtd. in Trogdon 120). More
interestingly, he used similar adjectives in a description of Pedro Romero’s
style of bullfighting, which can be read as an exposition on Hemingway’s
aesthetic values. Romero’s style ‘was straight and pure and natural in line’
and ‘gave real emotion, because he kept the absolute purity of line in his
movements’, while his competitors ‘twisted themselves like corkscrews’ and
elicited ‘fake’ emotions (The Sun Also Rises 167–68).
19. According to Aleksandra Litorowicz, writers such as Ernest Hemingway,
D.H. Lawrence, and Henry Miller were the direct intellectual forerunners of
such hipsters as Norman Mailer (28).
Works Cited
Bederman, Gail. Manliness and Civilization. Chicago: U of Chicago P, 1995. Print.

Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Randal
Johnson. New York: Columbia UP, 1993. Print.
Eby, Carl P. Hemingway’s Fetishism: Psychoanalysis and the Mirror of Manhood. Albany: State
University of New York, 1999. Print.
Fantina, Richard. Ernest Hemingway: Machismo and Masochism. New York: Palgrave Macmillan,
2005. Print.
Fegel, Susan B. ‘The Environment.’ Ernest Hemingway in Context. Ed. Debra A. Moddelmog and
Suzanne del Gizzo. Cambridge: Cambridge UP, 2013. Print.
Grey, Zane. Heritage of the Desert. 1909. New York: TOR, 2009. Print.
—. The Light of the Western Stars. New York: Harper and Brothers, 1914. Print.
Big Fish 59
—. Riders of the Purple Sage. 1912. Mineola, NY: Dover Publications, 2002. Print.
—. Tales of Fishes. 1919. Lanham, MD: Derrydale Press, 2001. Print.
Hall, Stuart. ‘Notes on Deconstructing the Popular.’ Cultural Theory and Popular Culture. Ed.
John Storey. New York: Pearson/Prentice Hall, 1998. 442–453. Print.
Hawkins, Ruth A. Unbelievable Happiness and Final Sorrow: The Hemingway-Pfeiffer Marriage.
Fayetteville: U of Arkansas P, 2012. Print.
Hemingway, Ernest. Death in the Afternoon. 1939. New York: Arrow Books, 2004. Print.
—. Islands in the Stream. New York: Scribner’s, 1970. Print.
—. The Sun Also Rises. 1926. New York: Scribner’s, 1954. Print.
Hemingway, Patrick. Preface. Hemingway on Hunting. Ed. Seán Hemingway. New York: Scribners.
xiii–xviii. Print.
Litrowicz, Aleksandra. Subkultura hipsterów. Od nowoczesnej etyki do ponowoczesnej estetyki.
Warszawa: Wydawnictwo Naukowe Katedra, 2012. Print.
May, Stephen J. Zane Grey: Romancing the West. Ohio UP, 1997. Print.
Meyerowitz, Joanne. Women Adrift: Independent Wage Earners in Chicago, 1880–1930. Chicago:
U of Chicago P, 1988. Print.
Miles, Jonathan. ‘Rider of the Purple Prose: Review of “Zane Grey: His Life, His Adventures, His
Women”, by Thomas H. Pauly.’ New York Times (1/I/ 2006): n.pag. Print.
Mitchell, Lee Clark. Westerns: Making the Man in Fiction and Film. Chicago: U of Chicago P,
1996. Print.
Pauly, Thomas H. Zane Grey: His Adventures, His Women. Urbana: U of Illinois P, 2005. Print.
Reiger, George. Introduction to ‘The First Thousand-Pounder.’ The Best of Zane Grey, Outdoors-
man: Hunting and Fishing Tales. Zane Grey. Mechanicsburg: Stackpole Books, 1992. Print.
Reynolds, Michael. Hemingway: The 1930s. New York: W.W. Norton & Company, 1998. Print.
Slotkin, Richard. Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America.
Norman: U of Oklahoma P, 1992. Print.
Strychacz, Thomas. Hemingway’s Theatres of Masculinity. Baton Rouge: Louisiana State UP,
2003. Print.
Tompkins, Jane. West of Everything: The Inner Life of Westerns. Oxford: Oxford UP, 1992. Print.
Traube, Elizabeth G. ‘“The Popular” in American Culture’. Annual Review of Anthropology 25
(1996): 127–51. Print.
Trogdon, Robert W. The Lousy Racket: Hemingway, Scribner’s and the Business of Literature. Kent,
Ohio: Kent State UP, 2007. Print.
Vaill, Amanda. Hotel Florida: Truth, Love, and Death in the Spanish Civil War. New York: Farrar,
Strauss and Giroux, 2014. Print.
Wister, Owen. The Virginian. 1902. Oxford: Oxford UP, 1998. Print.
How (Not) to Make People Like You
The Anti-Popular Art of David Foster Wallace
James Dorson
‘Forget so-called peer-pressure. It’s more like peer-hunger.’

— Infinite Jest 694
Few writers have catered to unpopular tastes with such great success as
David Foster Wallace. Not only has his work consistently resisted easy
consumption through its experimental style or sheer volume—as in the 1079
densely annotated pages of Infinite Jest (1996)—it has often sought out the
most unappealing topics, from the arcane, the cruel, the geeky, the awkward,
and the repulsive to the infuriatingly complex and the insanely boring. He
frequently imitates other styles, not just literary ones, but such trying forms
as academic prose, statistical representation, dictionary entries, legal jargon,
and bureaucratese. His novels and stories are not only difficult to read, but
often unpleasant as well, in their detailed accounts of bodily excretions and
psychological neediness. Zadie Smith, in an essay on Wallace’s 1999 short
story collection Brief Interviews With Hideous Men, sums it up well when
she writes: ‘There are times when reading Wallace feels unbearable, and
the weight of things stacked against the reader insurmountable: missing
context, rhetorical complication, awful people, grotesque or absurd subject
matter, language that is—at the same time!—childishly scatological and
annoyingly obscure’ (275–76). This is from someone who has called Wallace
her ‘favorite living writer’ (261), and whose laudatory blurbs appear on the
front cover of several of his books.
But trying the patience of readers in this way serves an explicit purpose
in Wallace’s work. It is not obstructionist but programmatic, not meant to
provoke outrage but to shake up the institutions of writing and reading.
While Smith reads his challenge to readers in the grain of high culture that
makes them work hard for their aesthetic reward, the notorious difficulty of
his work is not only motivated by a resistance to popular culture, but even
more fundamentally by a deep skepticism toward popularity as such. The
idea of death by entertainment that Infinite Jest explores may have been a
mordant satire of commercial culture, but Wallace’s problem with popular-
ity cuts across the high/low culture divide. From his essay ‘E Unibus Pluram:
62 James Dorson
Television and U.S. Fiction’ and interview with Larry McCaffery—both first
published in 1993 and frequently cited as expressions of Wallace’s aesthetic
program—to his widely circulated 2005 Kenyon College speech, he has
made it clear that automatism and awareness are the two poles that make
up his aesthetic map, with commercial art pushing toward the former, and
what he called ‘real art-fiction’ (McCaffery 32) pushing toward the latter.
Wallace embraced the view that the role of fiction should be ‘to comfort
the disturbed and disturb the comfortable’ (McCaffery 21). To disturb the
reader meant, in Smith’s words, ‘to break the rhythm that excludes thinking’
(268), which is an idea that harks back to the Russian Formalist view of art
as de-automatized perception, and which was central to modernist aesthet-
ics. Such art makes use of what George Saunders, in reference to Wallace,
described as a ‘shock methodology’, ‘a kind of stripping away of the habitual’
(53). But if ‘art-fiction’ could shock us into greater awareness, television for
Wallace had the opposite effect. Television was what he called ‘the epitome
of Low Art’, because ‘it engages without demanding. One can rest while
undergoing stimulation. Receive without giving’ (‘E Unibus Pluram’ 37). If
‘art-fiction’ wakes us up, television fixes viewers ‘in an attitude of relaxed
and total reception, rapt’ (‘E Unibus Pluram’ 26).
Crossing this automatism/awareness axis, which spans from television
and advertising to ‘real art-fiction’, however, is another polarity in Wallace’s
work that ranges from deceit to sincerity, and which cannot be divided
into commercial versus non-commercial art. Whereas television made up
the negative pole on the automatism/awareness axis, then metafiction for
Wallace had come to make up the negative pole of the deceit/sincerity axis.
Metafiction—and by extension the postmodern institutionalization of
irony—did not represent popular culture, but rather what could be called
popularity culture. In contrast to popular culture, popularity culture may
be defined not in commercial terms, although economic gain is often a
byproduct of popularity, or in terms of symbolic capital or distinction, which
is the currency of high culture, but rather in terms of approval. Popularity
culture is art that primarily seeks approval, not money or distinction. The
definition may be expanded to include not only art but a form of sociability
in which approval is the overriding end. As I hope to show in the following,
it is the reaction against popularity culture more than anything else that
defines Wallace’s fiction. It is what impelled him to explore avenues of
unpopularity, but also what ultimately won him such popular approval.
While many critics have engaged with Wallace’s relation to postmodernism,
focusing especially on the relationship between irony and sincerity in his
work, few have tried to uncover the historical reasons for his occupation
with sincerity.1 By reading Wallace through the lens of popularity culture,

the following sections argue that Wallace’s beef with postmodernism should
be understood in the context of his beef with another ‘post’, namely that
of post-industrial society. By bringing some of the most important texts in
Wallace’s oeuvre into dialogue with David Riesman’s classical sociology of
‘other-direction’, the aim here is thus to historicize the significance that the
key issues of sincerity and recursivity play in Wallace’s fiction with respect
to work and life in post-industrial society, and ending with an account of
unpopularity in his last novel, The Pale King (2011).
Popularity Culture and ‘Other-Direction’
Although Wallace is not known for brevity—even his essays had to be

radically pruned in order to meet magazine standards—the short story
with which Brief Interviews With Hideous Men begins shows that he was
capable of compression as well as inflation. The story is called ‘A Radically
Condensed History of Postindustrial Life’, and is quoted here in full:
When they were introduced, he made a witticism, hoping to be liked.

She laughed extremely hard, hoping to be liked. Then each drove home
alone, looking straight ahead, with the very same twist to their faces.
The man who’d introduced them didn’t much like either of them, though
he acted as if he did, anxious as he was to preserve good relations at all
times. One never knows, after all, now did one now did one now did one.
The first thing to note about the story is that it is located on page zero of
the story collection, which suggests that Wallace thought of it as a sort
of ground zero for contemporary life. The situation that it describes so
tersely is meant to be representative of the human condition in its present
shape, and it presents itself as a diagnosis of this condition. What the three
characters—or rather caricatures—in the story have in common is a shared
desire to be liked. They behave in a way meant to maximize their likeability;
that is to say, their behavior is calculated and instrumental. This requires
that each character has in mind an ideal model of likeable behavior to which
they seek to adjust their own behavior. If they were seeking admiration or
distinction, or in some other way to impress the others, the model they
would seek to conform to would have to be based on what they imagine is
somehow superior to those they seek to impress. But since their goal is only
‘to be liked’, the ideal model has to be as much like those they seek to be liked
64 James Dorson
by as possible. In short, their conformity is not vertical but horizontal: what

they seek to adjust to is one another, not some elevated model of behavior
instilled in them prior to having met each other.
This is, of course, the form of peer adjustment that David Riesman so fa-
mously calls ‘other-direction’ in his 1950 landmark study of social character,
The Lonely Crowd. In contrast to ‘inner-direction’, where parental authority
has been internalized at such an early age as to become second nature, the
‘other-directed’ character was not guided by an inner moral compass, but
by the changing pressures of his or her social environment—in Riesman’s
terms, not by a ‘gyroscope’ (16) but a ‘radar’ (25). On the upside, this means
that the ‘other-directed’ character is far more receptive to signals from
others than the rather single-minded ‘inner-directed’ character. On the
downside, it means that the ‘other-directed’ person has ‘no clear core of
self’ (157). Those who are ‘other-directed’ are too receptive, lacking any
autonomous sense of self that could protect them from the caprices of their
environment. Although Riesman cautions against dismissing the qualities
of ‘other-direction’ out of hand, by identifying the need for approval as the
overriding desire of the social type he analyzes, his study inevitably creates
the grounds for its disapproval. This is the paradox of popularity culture:
the more evidently one seeks approval, the less likely it is that one receives
it. As Riesman notes, ‘because it is approval for which one is competing one
must repress one’s overt competitiveness’ (81). The recursivity in popularity
culture requires that one dissimulates one’s feelings and behavior in order
to manipulate those of others. But precisely because the relationship is
recursive, and manipulation is most effective when it does not appear as
such, it also requires that one dissimulates one’s dissimulation, and so on ad
infinitum. The paradox is illustrated in ‘A Radically Condensed History’. The
narrator’s explanatory comments on the ulterior motives for the behavior
of the characters—’hoping to be liked’, ‘anxious as he was to preserve good
relations at all times’—effectively undermine their attempts to be liked in
the eyes of the reader. Their desire to be liked, which is emphasized in the
story to the extent that it becomes a parody of popularity culture, is what
makes them unlikable. Instead of likable, it is more probable that they are
perceived as fake, behaving not as they are or how they feel, but as they
think they should behave in order to be liked.
This perception of being ‘fake’ was, in effect, how Riesman’s study con-
tributed to make a whole generation feel. But the strength of his account
and its continued relevance today was the historical and social processes
that underlay the transformation of character. The ‘inner-directed’ type for
Riesman was a product of the industrial era, where ‘technical competence’
(129) had been the key to advancement. In his own era of bureaucracy and
mass consumption, the key to success had become ‘social competence’
(129), as work increasingly required the manipulation of people instead
of things. This shift from an economy based on production to one largely
based on consumption implied a fundamental change in social relations.
To a far greater extent than before, the degree to which people were able
to get along—with coworkers or customers—determined how success-
ful they were at their work. Social skills had become a prerequisite for
upward mobility; it had become necessary ‘to preserve good relations at
all times’, as ‘A Radically Condensed History’ has it. But social competence
involves a level of complexity far greater than that of any technical com-
petence. While natural resources can be manipulated independently of
the relationship between manipulator and manipulated, this is not the
case in the manipulation of people. The successful manipulation of rocks
or trees does not depend on our behavior toward them, but the successful
manipulation of people does. Post-industrial work relationships are inher-
ently more recursive than industrial ones. The engineer with technical
expertise does not need to be popular in order to succeed, but the office
worker among office workers competing for the favor of the manager does.
From the emergence of personnel departments and the Human Relations
Movement in the early decades of the twentieth century to the training of
emotional intelligence and the recruitment of ‘Happiness Engineers’ in the
workplace today, corporate self-help books and managerial practices in the
past century may be characterized as the search for ever better methods
for manipulating what used to be called ‘the human element’.2
Popularity culture is the direct outgrowth of this development: the
increasing correlation between personal and professional success. Post-
industrial work relations demand to an ever greater degree that the emo-
tional and personal qualities of people are counted as assets. For Eva Illouz,
in her account of what she calls ‘emotional capitalism’, the intertwining of
work and affect has made ‘the economic self emotional and emotions more
closely harnessed to instrumental action’ (23). When personal life enters
the workplace, work also enters personal life. The result is that the risk of
manipulation seeps into every aspect of social interaction. If not being
liked jeopardizes not only one’s personal relationships but also one’s work
relationships, then it is never clear whether one seeks approval for reasons
of pure sociability or for instrumental ends. As the line between work and
personal life becomes blurred, every act may or may not be a calculated
one, because every act may or may not serve instrumental purposes. ‘One
never knows, after all, now did one now did one now did one’, as the trailing
66 James Dorson
voice of Wallace’s story says. But not only does it become difficult to know
the motives of others, it becomes difficult to know one’s own motives. If
other people may seem like frauds, one may also feel like a fraud oneself.
This dilemma is played out in Wallace’s story ‘Good Old Neon’ from
Oblivion (2004). The story is narrated by a character who has already killed
himself and is now explaining why. It begins with the character describing
his problem:
My whole life I’ve been a fraud. I’m not exaggerating. Pretty much all I’ve
ever done all the time is try to create a certain impression of me in other
people. Mostly to be liked or admired. It’s a little more complicated than
that, maybe. But when you come right down to it it’s to be liked, loved.
Admired, approved of, applauded, whatever. (141)
As an account of how the character could not quiet his ‘mind’s ceaseless
conniving about how to impress people’ (160), it is a stark confession of
‘other-direction’ and its discontents. In characterizing his trouble, he identi-
fies what he calls the ‘fraudulence paradox’:
The fraudulence paradox was that the more time and effort you put
into trying to appear impressive or attractive to other people, the less
impressive or attractive you felt inside—you were a fraud. And the more
of a fraud you felt like, the harder you tried to convey an impressive or
likable image of yourself so that other people wouldn’t find out what a
hollow, fraudulent person you really were. (147)
The recursive trap is typical of Wallace’s work. Here, the recursion inherent
in popularity culture—where seeking approval is a cause for disapproval
which causes one to seek approval—has been internalized. The recursive
game that one plays with others, one also plays with oneself. The effect is
not only that a wedge is driven between people who may feel that others
are fraudulent, but that one feels fraudulent oneself. As the character in the
story says: ‘I actually seemed to have no true inner self, and that the more
I tried to be genuine the more empty and fraudulent I ended up feeling
inside’ (160). Seeking approval empties out the self because it introduces a
level of calculation to our sense of self, which we believe should be free of
calculation in order to be genuine. The trap is that the more empty inside
one feels, the more one needs approval, which in turn makes one feel all the
more empty. As such, if the ‘other-direction’ prompted by twentieth-century
transformations of work results in us having ‘no clear core of self’, as Riesman
said, then having no clear core of self makes us more ‘other-directed’. The
effect is that we are caught in a loop of calculation that appears to isolate us
from each other and alienate us from ourselves—which would explain the
feeling of despair beneath the parody of ‘A Radically Condensed History’,
when ‘each drove home alone, looking straight ahead, with the very same
twist to their faces’.
But while the characters in ‘A Radically Condensed History’ clearly fall
toward the deceit end on the deceit/sincerity axis that structures Wallace’s
fiction, the story itself is also deceptive. It is not the history that the title
promises. By inflating the ‘other-directed’ insecurity of the characters into
a caricature, they become the butt of a joke shared by narrator and readers.
In recognizing the insecurity of the characters we automatically become
superior to them. In other words, the story flatters us. We may like it for
sharing a joke with us over the heads of its characters, yet we may also
dislike it for this very reason, for its smug appeal to our sense of superiority.
Its radical condensation makes it look like the witticism made by the first
character, as if it itself were ‘hoping to be liked’. In this sense, it resembles
the metafiction that Wallace sought to distance himself from. While the
ironic mode of metaf iction—always self-consciously undercutting its
own narrative—at first served to deflate the conceits of realism and the
conformity of the early postwar era, by the late 1980s Wallace felt that it
had outlived its purpose. Irony, now as ‘the dominant mode of hip expres-
sion’ (‘E Unibus Pluram’ 67), had itself become oppressive. For Wallace, the
formal stunts of metafiction often served no other purpose than to exhibit
the skills and astuteness of the writer, as if to say, as he phrased it in his
interview with McCaffery, ‘Hey! Look at me! Have a look at what a good
writer I am! Like me!’ (25). Revealing the deceits of art had devolved into its
own deceit. And if the anticipatory logic of calculation in popularity culture
was lethal to personal relationships, it was also lethal to fiction. The fiction
writer seeking approval from an audience was just another manifestation
of ‘other-direction’. As the narrator of the story ‘Octet’ from Brief Interviews
warns the reader: ‘there is no quicker way to tie yourself in knots and kill
any human urgency in the thing you’re working on than to try to calculate
ahead of time whether that thing will be “liked”’ (129).
Of course, being open about this problem inevitably raises the reader’s
suspicion about whether by confessing this ‘Octet’ is itself only trying to
be liked. The reflexivity about self-reflexivity so characteristic of Wallace’s
work has been described by critics as a form of metafictional self-implosion
that reverts into its opposite.3 But perhaps a more accurate description of
what goes on here is that the reader becomes implicated in the calculated
68 James Dorson
exchanges that his stories parody. Whether it is the anxious platitudes in ‘A

Radically Condensed History’ or the account of the corrosive writer/reader
relationship in ‘Octet’, neither narrator nor reader are ever above suspicion.
If the joke at first appears to be on the ‘other-directed’ characters of the
stories, the joke ends up being on us, the readers, because we are not able to
extract ourselves from the recursive processes that the story demonstrates.
The reader will also have to reflect that, in a culture where everything
may always be tainted by instrumentality, ‘one never knows’. The cynical
knowingness that he found so discomfiting about metafictional irony is
undermined by the uncertainty of popularity culture that he imposes on
the reader. Characteristically, Wallace’s stories not only depict the recursive
process of popularity culture but actually perform it, drawing readers ever
further into its exasperating loops, in effect making us complicit with it.
The Problem of Sincerity
While N. Katherine Hayles in an article on Infinite Jest has convincingly

shown how the novel performs ‘the fact of recursivity’, it should be clear that
Wallace was not only interested in trapping readers, but also in discover-
ing ways out of the trap. The sense of isolation and loneliness that runs
through his work is thus not only a result of the popularity trap, but also a
potential remedy for it. In his biography of Wallace, D.T. Max suggests that
he had a penchant for ‘universalizing his neurosis’ (94). This may sound like
solipsism, but it was in the act of universalizing what he felt that Wallace
sought a way to counter the sense of isolation he found in post-industrial
life. By linking the sense of isolation and loneliness that he felt defined
the human condition to the postmodern and post-industrial condition,
we might also say that he historicized his neurosis. In a crucial passage
in Infinite Jest, where the narrator reflects on what ails the troubled main
character Hal Incandenza, we are told that ‘inside Hal there’s pretty much
nothing at all’ (694). The narrator then goes on to generalize Hal’s condi-
tion: ‘We enter a spiritual puberty where we snap to the fact that the great
transcendent horror is loneliness, excluded encagement in the self. Once
we’ve hit this age, we will now give or take anything, wear any mask, to fit,
be part-of, not be Alone, we young’ (694). Again we have the ‘fraudulence
paradox’: in order to escape loneliness we seek to conform, which in turn
alienates us from what we truly feel—loneliness. The key theme of addiction
in Infinite Jest is presented in the same way as something characters are
drawn into because it blunts their feeling of inner destitution, but which
only aggravates the condition they seek to escape. Earlier in the novel, Hal
says about playing tennis that ‘[w]e’re each deeply alone here. It’s what we
all have in common, this aloneness’, to which another character responds:
‘E Unibus Pluram’ (112). Wallace’s fiction is full of lonely crowds—is that not
essentially what ‘out of one, many’ means?4 At the same time, however, as
‘aloneness’ is a common feeling at this particular moment in history, it is also
one that may be shared, and thus possibly revoke the isolating recursions
of popularity culture. Still, if Wallace looked to the sharing of feelings for
an alternative to popularity culture, like everything in his work, this was
easier said than done.
‘Octet’ dramatizes the problem of sharing succinctly. Presented as ad-
vice on how to write good fiction, the narrator of the story underlines the
importance of making readers empathize with characters by feeling ‘some
sort of weird ambient sameness in different kinds of human relationships’
(131-32). This suggests another form of ‘other-direction’ at work in Wallace’s
fiction. ‘Octet’ even uses the term ‘other-directedness’ (117), not in Riesman’s
sense, but as synonymous with empathy. In spite of its radar-like sensitivity,
Riesman’s ‘other-direction’ is rather what Smith described as the ‘other
blindness’ (291) of the hideous men in Brief Interviews, as their concerns
for how they are perceived by others effectively blocks their perception of
them. Against Riesman’s ‘other-direction’, Wallace’s other ‘other-direction’
aims not at winning the approval of others but at sharing a sense of ‘urgent
interhuman sameness’ (‘Octet’ 133). The problem, then, is how to know when
another person is feeling as you do. The story offers the following solution:
The trick to this solution is that you’d have to be 100% honest. Mean-
ing not just sincere but almost naked. Worse than naked—more like
unarmed. Defenseless. ‘This thing I feel, I can’t name it straight out but it
seems important, ‘do you feel it too?’—this sort of direct question is not
for the squeamish. For one thing, it’s perilously close to ‘Do you like me?
Please like me,’ which you know quite well that 99% of all the interhuman
manipulation and bullshit gamesmanship that goes on goes on precisely
because the idea of saying this sort of thing straight out is regarded as
somehow obscene. (131)
If sharing a sense of the human predicament in post-industrial life

was, for Wallace, a way in which to remedy it, then sincerity becomes
imperative as the precondition for this sharing. But there is a fine line
between emotional sharing and emotional manipulation. Being open
about one’s feelings requires that others are equally open about theirs. It is
70 James Dorson
an all-or-nothing proposal: if all parties are sincere, the cycle of deception

may be broken; if they are not, it is intensified, as lowering one’s defenses
makes one prey to greater manipulation. As ‘Octet’ makes clear, there
can be no compromise: ‘Anything less than completely naked helpless
pathetic sincerity and you’re right back in the pernicious conundrum’
(131).
Wallace’s proposed solution to the problem of recursivity in popularity
culture only presented him with a new problem, namely that of knowing
when one is ‘100% honest’. This is, of course, a problem that dates back at least
to St. Augustine’s Confessions, and which with Rousseau’s secularization of
the confessional mode in the late eighteenth century became a hallmark of
modern culture. The aim of confession is to flush out hidden deceits that
may be lurking in the inmost recesses of the self. Self-examination through
self-revelation purifies as it proceeds, as every impurity discovered and
revealed is an impurity cleansed by the fact that it is no longer hidden. As
confessions are cathartic, a form of self-erasure that wipes the slate clean,
it follows that the greater the depravity exposed the greater the relief from
it and the cleaner the slate. This is the logic of the AA meetings in Infinite
Jest, described as a form of ‘deprogramming’ (369). The litanies of personal
horror and humiliation that its members reveal at the fervent incitement
of their fellow ex-abusers seem almost like a contest in self-deprecation.
However, the confession must be received as sincere by its audience. This
was the key to a successful AA confession, as the former addict Don Gately
reflects: ‘Speakers who are accustomed to figuring out what an audience
wants to hear and then supplying it find out quickly that this particular
audience does not want to be supplied with what someone else thinks it
wants’ (367-68). Premeditation is as unwelcome here as in the writer/reader
relationship in ‘Octet’: ‘It can’t be a calculated crowd-pleaser, and it has to
be the truth, unslanted, unfortified. And maximally unironic’ (Wallace,
Infinite Jest 369).
Wallace made use of this confessional mode frequently as a narrative ploy
both in his fiction and non-fiction. His infamous footnotes often function
as correctives ‘in the spirit of 100% candor’, as one note in ‘Octet’ proclaims
(125), and metafiction on the whole is aimed at revealing narrative deceits.
Yet, the confessional mode in Wallace cuts deeper than this because it per-
vades his style. Like J.D. Salinger’s ingenuous narrative voice, Wallace’s voice
often employs a highly informal tone that brings about a degree of intimacy
with the reader that a more formal prose style could not do. Wallace’s style
draws the reader into confidence, and this was wholly intentional. As he
told one interviewer, he thought of his relationship with the reader as being
like ‘a late-night conversation with really good friends, when the bullshit
stops and the masks come off’ (qtd. in Max 221).
At the same time, Wallace knew that the colloquial tone he used to
give readers a feeling of intimacy was not only subject to manipulation,
but was the quintessential trick of the conf idence man. His essay on
John McCain’s bid for the 2000 Republican presidential nomination is a
case in point. The essay, published in Consider the Lobster (2005) as ‘Up,
Simba’, begins with a disclaimer to the reader—addressed as ‘Dear Person
Reading This’ (156)—that the essay is ‘just meant to be the truth as one
person saw it’ (157).5 But even as the style of the essay begins by drawing
the reader into conf idence, conf idence is precisely what it goes on to
problematize. Describing his road trip as a journalist with McCain on his
campaign bus the ‘Straight Talk Express’ (171), Wallace seeks to resolve
the contradiction between McCain’s candid appearance—his ‘straight
talk’, suggesting that he is not merely catering to public opinion—and
his need as a presidential candidate for popular approval. McCain may
have been sincere, ‘all conspicuously honest and open and informal and
idealistic and no-bullshit’ (228), but at the same time his sincerity was
highly effective self-promotion. The essay concludes that it was impossible
‘to tell whether John McCain is a real leader or merely a very talented
political salesman’ (228), and ends with an appeal to the reader: ‘whether
he’s truly “for real” now depends less on what is in his heart than on what
might be in yours’ (234).
In his essay on ‘David Foster Wallace and the New Sincerity in American
Fiction’, Adam Kelly writes that sincerity ‘can always be taken for ma-
nipulation, and this risk is fundamental—it cannot be reduced by appeal
to intention, or morality, or context—because true sincerity, if there is
ever such a thing, must take place in the aporia between the conditional
and the unconditional’ (140). This non-identity of sincerity means that its
only identity is relational, that ‘the possibility of sincerity depends upon
its becoming dialogic in character, always requiring a response from the
other to bring it into play’ (Kelly 141). Wallace’s appeal to the reader—and
specifically the reader’s heart—in ‘Up, Simba’ is thus symptomatic of how
he deals with the problem of sincerity. Rousseau in The Confessions (1782)
may have thought that he ‘unveiled [his] inmost self’ (3), but for Wallace
the medium of language through which the self must be unveiled is itself
suspect. The ‘whole’ self that sincerity implies cannot possibly be unveiled
through language. ‘Good Old Neon’ is told in the confessional mode with the
first person narrator seeking to account for his fraudulence, but at the same
time he admits to the impossibility of self-revelation through confession.
72 James Dorson
He points out the vast discrepancy between what we are and how little of
ourselves we are able to represent to others:
As though inside you is this enormous room full of what seems like
everything in the whole universe at one time or another and yet the only
parts that get out have to somehow squeeze out through one of those tiny
keyholes you see under the knob in older doors. As if we are all trying to
see each other through these tiny keyholes. (178)
The keyhole is language, which for Wallace presents a barrier to sharing as

great as that posed by manipulation. Language is by definition mislead-
ing as it only represents a fraction of our experiences. But if the problem
of language is postmodern and that of manipulation post-industrial, the
solution for Wallace appears to be the same. It may be impossible to squeeze
one’s whole self through the keyhole of language, but as ‘Good Old Neon’
informs us, ‘the door can open’ (178). Opening the door to the self for the
other to enter only requires that the mask of language be removed, which
is why ‘it feels so good to break down and cry in front of others, or to laugh,
or speak in tongues, or chant in Bengali—it’s not English anymore, it’s not
getting squeezed through any hole’ (‘Good Old Neon’ 179). If the sincerity
of the whole self cannot be revealed through the language of confession,
perhaps it is disclosed in the breakdown of language. Disgusted by the
barrier that language poses to sincerity, the narrator of ‘Good Old Neon’
ends on a decisive note: ‘Not another word’ (181).
‘Not another word’ may not seem like the right coda for a writer famous
for his verbose style, but the compulsion to confess is as much a part of the
problem for Wallace as it is of the solution. This is especially the case when
his fiction addresses the modern variant of confession: therapy. In ‘The
Depressed Person’ from Brief Interviews, Wallace demonstrates how the
sharing of feeling can lead to a destructive spiral of narcissistic reflexivity
that obstructs any possibility of genuine sharing. The story begins grimly:
‘The depressed person was in terrible and unceasing emotional pain, and
the impossibility of sharing or articulating this pain was itself a component
of the pain and a contributing factor in its essential horror’ (31). But after
almost thirty pages of trying to articulate and share her emotional pain
with her therapist and ‘Support System’ (32)—her name for those friends to
whom she obsessively confesses her feelings—the story ends with no com-
municative progress whatsoever having been made: ‘How was she to decide
and describe—even to herself, looking inward and facing herself—what all
she’d so painfully learned said about herself?’ (58) The question is itself the
problem that keeps her trapped. On the one hand, we are as much trapped
within her looping therapeutic logic as she is because the story compels us
to participate in her self-analysis. On the other hand, by representing her
allegorically as ‘the depressed person’, the story makes her representative of
a cultural condition: it universalizes her neurosis. The real question of the
story is not what it says about her but what it says about us. The more she
tries to share her feelings the less she is able to. Her sharing impedes rather
than facilitates communication since it is not reciprocal but one-sided, as
in her relationship with her therapist or ‘Support System’. The only way out
of her recursive trap would be not to ask what she had learned said about
herself, but to ask what it said about being a human being. In other words,
she would have had to ask, ‘do you feel it too?’6
Accounting for Unpopularity
‘The Depressed Person’ is Wallace’s cruelest rendering of what Christopher

Lasch called The Culture of Narcissism (1979). Lasch provides the same
general historical account of the transformation of character as Riesman.
With the bureaucratization of society, he argues, ‘ambitious young men
now had to compete with their peers for the attention and approval of
their superiors’, with the result that ‘[t]he management of interpersonal
relations came to be seen as the essence of self-advancement’ (114). But while
Riesman’s study inspired a countercultural response to such behavior, Lasch
wrote after the counterculture had run its course. The counterculture for
Lasch may have been radical, but what it had radicalized was the structure
of dependence that the process of bureaucratization first gave rise to. The
rejection of cultural restraints for personal gratification had not led to
autonomy but turned the screw of conformity another notch: ‘Strategies
of narcissistic survival now present themselves as emancipation from the
repressive conditions of the past, thus giving rise to a “cultural revolution”
that reproduces the worst features of the collapsing civilization it claims to
criticize’ (21). The search for authenticity against calculated behavior had
only deepened a ‘therapeutic sensibility’ (33), because, like the bureaucratic
erosion of tradition and community, it served to further detach the self
from the continuity of the past. As ‘The Depressed Person’ suggests, the
examination of the self turns into self-excoriation once it rejects the social
ties that constitute the self. Like the hollowing out of self effected by the
internalization of calculated behavior, the self-fulfillment that therapy
promises is self-defeating to the extent that it treats the self as an intellectual
74 James Dorson
problem apart from its social context. The rejection of dependence that
the search for personal authenticity implies erodes the very self that is
sought, thus making the self more and not less dependent on others for its
affirmation. Instead of autonomy, the rejection of calculated behavior in
favor of personal authenticity only meant its narcissistic transformation,
which Lasch described as a kind of intensified ‘other-direction’:
Notwithstanding his occasional illusions of omnipotence, the narcissist

depends on others to validate his self-esteem. He cannot live without
an admiring audience. His apparent freedom from family ties and insti-
tutional constraints does not free him to stand alone or to glory in his
individuality. On the contrary, it contributes to his insecurity, which he
can overcome only by seeing his ‘grandiose self’ reflected in the attentions
of others, or by attaching himself to those who radiate celebrity, power,
and charisma. (38)
Lasch’s account of the intensification of dependence as a result of its rejec-

tion in favor of personal authenticity is indicative of the cultural trap that
Wallace was trying to write himself out of.7 His investment in sincerity was
his attempt to counter the desire for approval that accompanied the attenu-
ation of self. But at the same time, as he shows by repeatedly performing
the failure to pin down sincerity, he was aware that this investment was
susceptible to misuse. Sincerity involves a leap of faith, but there is no way
of telling whether one’s trust will be betrayed. What passes for openness,
as Infinite Jest warns, may well turn out to be ‘a purposive social falsehood
[…] a pose of poselessness’ (1048). Wallace’s unfinished novel The Pale King,
published posthumously in 2011, is his final jab at the problem of sincerity
as a way out of the cycle of post-industrial manipulation. The Pale King in
many ways unfolds against a backdrop of an ‘other-directed’ or narcissistic
culture, but it departs from the accounts of both Lasch and Riesman in one
crucial way. While the bureaucratization of society was responsible for the
social changes that Riesman and Lasch each documented, The Pale King
suggests that bureaucracy itself may be a key to the reversal of these changes.
Riesman and Lasch’s accounts were written against the backdrop of the
bureaucratic welfare state. In the 1980s, when Wallace came of age, however,
anti-bureaucratic sentiment had not only gone mainstream but had itself
become institutionalized with the Reagan administration and, specifically,
in the shape of neoliberal reform. In the intervening years between the
publication of Lasch’s indictment of dependence and Wallace’s work on The
Pale King, nothing had become more unpopular than bureaucracy itself.
The choice of a bureaucracy for the setting of The Pale King—a regional
IRS center in Peoria, Illinois—provides Wallace with both an arena for
the further exploration of sincerity and for the direct engagement with
something as unhip as one could possibly imagine. In ‘E Unibus Pluram’,
Wallace famously called for a new rebellion against the hegemony of hip:
The next literary ‘rebels’ in this country might well emerge as some weird
bunch of anti-rebels, born oglers who dare somehow to back away from
ironic watching, who have the childish gall actually to endorse and
instantiate single-entendre principles. Who treat of plain old untrendy
human troubles and emotions in U.S. life with reverence and conviction.
Who eschew self-conscious and hip fatigue. These anti-rebels would be
outdated, of course, before they even started. Dead on the page. Too
sincere. Clearly repressed. Backward, quaint, naïve, anachronistic. Maybe
that’ll be the point. Maybe that’s why they’ll be the next rebels. Real
rebels, as far as I can see, risk disapproval. (81)
If this was Wallace’s manifesto for unpopularity, The Pale King imagines the
‘anti-rebel’ as a bureaucrat. IRS examiners are trained to detect fraudulence
in tax returns, just as Wallace’s own prose is geared toward detecting fraudu-
lence in readers by drawing us into the recursions of popularity culture.
While irony is about undercutting the equivalence between what is stated
and what is meant, accounting is about determining it. And what could be
more unpopular than holding people to account for what they state in their
tax returns? The Latin motto ascribed to the IRS in the novel—translated by
one character as ‘He is the one doing a difficult, unpopular job’ (244)—leaves
no doubt about how unpopular the bureaucrat is. The IRS employee is not
one who seeks approval, but one who risks disapproval. The Pale King even
goes as far as to recast this as a form of heroism. In an epiphanic moment,
one character recounts a lecture by his Jesuit accountancy teacher:
‘True heroism is a priori incompatible with audience or applause or even

the bare notice of the common run of man. In fact,’ he said, ‘the less
conventionally heroic or exciting or adverting or even interesting or
engaging a labor appears to be, the greater its potential as an arena for
actual heroism, and therefore as a denomination of joy unequaled by any
you men can yet imagine’. (230)
With his bow tie and business fedora, the Jesuit teacher himself seems ‘a
hundred percent indifferent about being liked or seen as cool or likeable
76 James Dorson
by the students’ (226-27). He appears to be the embodiment of the heroic

‘anti-rebel’ in an era defined by what another character in the novel calls
‘tyranny of conformist nonconformity’ (149).
While many critics have taken Wallace’s comments about ‘anti-rebels’
as a trumpet call for a New Sincerity, others have more wisely suggested
that his own work seeks rather to combine cynicism and naïveté.8 As such,
it should be clear that a champion of unpopularity such as the Jesuit in
The Pale King is not meant as a positive model. He is a caricature of ‘inner-
direction’ in the same way that needy characters elsewhere in Wallace’s
fiction are caricatures of ‘other-direction’. He is indeed ‘dead on the page’,
and only comes to life as a counterpoint to his approval-starved contem-
poraries. Wallace’s method was far too dialectic to actually live up to the
‘post-postmodern’ rebellion against irony that he has been revered as the
progenitor of. But his search for a counterpoint to popularity culture in a
character such as the Jesuit is also indicative of the problem he faced. The
Jesuit’s indifference to approval is the result of his commitment to such
‘single-entendre principles’ that Wallace suggested defined the ‘anti-rebel’.
Yet, those principles in The Pale King are beside the point. The point of the
novel is not taxation or accounting as such, but what the commitment to
such principles entails.9 Tax accounting in The Pale King is not important for
its civic value, as it is for the Jesuit, but for how it may serve as a counterpoint
to popularity culture. Accounting is interesting to Wallace only insofar as
it inoculates the Jesuit against popularity. He is drawn to bureaucracy not
because of what it stands for but because it is unpopular.
The unpopular is the equivalent of the authentic to the extent that it
claims to be indifferent to approval. But just as the search for personal
authenticity for Lasch only made the individual further dependent, the
search for unpopularity only broadens the scope of popularity culture by
consigning all value that is claimed as unpopular to the absolute value of
approval or disapproval. Thus, even as the Jesuit’s social commitment places
him beyond the loop of popularity culture, the novel’s representation of his
commitment in terms of unpopularity draws him back into that very loop.
As a revolt against popularity culture, the search for unpopularity is inher-
ently a part of what it rejects. Just as popularity culture turns every value
into a vehicle for the attainment of approval, the revolt against popularity
relegates all value to the attainment of disapproval. It trades in the same cur-
rency as popularity culture only with the valences reversed, which means
that every other possible incentive—from money to morals—is devalued.
This was the risk that Wallace ran when he made sincerity the only value
that counted. By committing himself so exclusively to the dissection of
popularity culture, his work in effect became complicit in its devaluation

of any actual commitment that might transcend it. As the poles of deceit
and sincerity along which he strung his fiction were ultimately a product
of popularity culture itself, the harder he pushed toward the sincerity end
of the spectrum the more entangled he became in the popularity trap.
One character in The Pale King refers to a fictional self-help guide with
the title ‘How to Make People Like You: An Instant Recipe for Career Success’
(302). This is a lightly-masked reference to Dale Carnegie’s classic How to
Win Friends and Influence People (1936), which was one of the first self-
help books to equate popularity with professional success, and which thus
contributed to the post-industrial conundrum that Wallace found himself
in. But as Wallace’s own soaring popularity in the past decade shows, the
criteria for how to make people like you greatly varies. While the goal of
peer-approval in a society that depends on it has not changed, the means
for reaching it has. Ironically, in large part because Carnegie made the link
between our social popularity and professional achievements so disagree-
ably evident, the rejection of popularity has long been a fixed staple in the
search for approval, and thus success. Under such circumstances, nothing
that is valued mainly for its unpopularity could ever offer an alternative
to popularity, only a new means for attaining it. Wallace’s significance is
not that he showed us a way out of popularity culture, but that his inspired
attempts to extract himself from it made its consequences so painfully clear.
Notes
1. One important exception is chapter two of Mary K. Holland’s Succeeding

Postmodernism: Language and Humanism in Contemporary American Litera-
ture (2013), which reads Wallace in terms of Christopher Lasch’s critique of
‘the culture of narcissism’. For an overview over what has already come to
be called ‘David Foster Wallace Studies’, see Adam Kelly’s ‘David Foster Wal-
lace: the Death of the Author and the Birth of a Discipline’.
2. For the most comprehensive account to date of this new managerial revolu-
tion, see Luc Boltanski and Eve Chiapello’s The New Spirit of Capitalism
(1999). For the concept of ‘Happiness Engineers’ at work, see Burkeman.
3. For instance, A.O. Scott describes Wallace’s fiction as ‘meta-ironic,’ turning
‘irony back on itself.’ Marshall Boswell similarly suggests that ‘Wallace uses
irony to disclose what irony has been hiding […] to recover a learned form
of heartfelt naïveté’ (17).
4. Although not as conceptually productive as Riesman’s study, Robert D.
Putnam’s Bowling Alone (2000) provides a more recent sociological context
78 James Dorson
for Wallace’s millennial loneliness. Echoing Wallace’s ‘E Unibus Pluram’, he

partly blames the erosion of social capital on the individualizing effects of
the ‘massive telecommunications and entertainment industries’ (216).
5. Telling ‘the truth as one person saw it’ has, of course, been the very hall-
mark of the essay form since it was pioneered by Montaigne in the six-
teenth century, and as such goes a long way to explain Wallace’s affinity for
the genre.
6. For a good account of the importance of the interpersonal in Wallace’s
work, see Nicole Timmer’s study of post-postmodernism, which borrows its
title from this quote, Do You Feel It Too? The Post-Postmodern Syndrome in
American Fiction at the Turn of the Millennium (2010).
7. For a more extensive reading of the relationship between Wallace and
Lasch’s critique of narcissism than I am able to provide here, see Holland.
8. See especially the first chapter of Boswell.
9. This is most evident in the novel’s allegory of the boy who tries to press his
lips to every part of his body. The boy is described as ‘self-contained’ (401)
due to his ‘daily discipline and progress toward a long-term goal’ (396). The
point of the passage is clearly not the value of contortionism, but what the
adherence to a goal—any goal—implies.
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Hayles, N. Katherine. ‘The Illusion of Autonomy and the Fact of Recursivity: Virtual Ecologies,
Entertainment, and Infinite Jest.’ New Literary History 30.3 (1999): 675–97. Print.
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Dissenting Commodities
Negotiations of (Un)popularity in Publications Critical of
Post-9/11 U.S.-America
Elizabeth Kovach
I. (Un)popularity and Marketability
This essay discusses three generically diverse pieces of writing that are
critical of U.S.-American foreign policy and society since 9/11: Jane Mayer’s
The Dark Side (2008), Jonathan Franzen’s Freedom (2010), and Juliana Spahr’s
thisconnectionofeveryonewithlungs (2005). These texts—journalistic,
novelistic, and poetic—are dissenting, critical, and counter-hegemonic
depictions of the direction that the USA has taken since 9/11. They have
been written, marketed, and successfully sold to well-established sectors
of the reading public. While there is a significant body of scholarly work
that focuses on how such examples of post-9/11 writing offer discourses
counter to those perpetuated by top policymakers and mainstream media
outlets, little attention has been paid to the commodified nature of such
writerly dissent. In my analyses of these texts, I explore the tensions and
ambivalences regarding issues of unpopularity and popularity that affect
writers who strive for political impact while they participate in a market
logic that inevitably dampens the blow.
I thus conceive of popularity and unpopularity in terms of marketability.
Raymond Williams writes in Keywords that the word ‘popular’ began as
‘a legal and political term’, referring to what was generated by the people,
but finds that ‘[t]he transition to the predominant modern meaning of
‘widely favoured’ or ‘well-liked’ is interesting in that it contains a strong
element of setting out to gain favour’ (236-37). That which sets out to be
popular is strategically designed to fall within the parameters of what is
known to be favorable. Popular cultural artifacts, news outlets, and political
messages generally enter the realm of the familiar and acceptable, abide
by established tastes and sensibilities, and match desires and expectations
prevalent within the public sphere. They are, simply put, produced with
their markets in mind.
The unpopular is that which does not set out to gain favor. It does not
purposefully appeal to a market, even though it will likely find one, however
small. Within a neoliberal age that accommodates virtually any form of
82 Elizabe th Kovach
cultural expression (even the extreme levels of offense pursued by the

band Anal Cunt mentioned in this volume’s introduction), the unpopular is
more of an aspiration—a fantasy of unadulterated and autonomous expres-
sion that does not pander to anyone or anything—than a fully realizable
phenomenon. Pursuits of the unpopular are nonetheless attempts to break
out of established paradigms, and, even if in failure, they perform politics.
Jacques Rancière’s concept of the ‘distribution of the sensible’ is helpful in
this context (cf. Aesthetics 12–19). Changes made to this distribution of what
can be known, sensed, and imagined at any given place and time are, for
Rancière, the essence of politics. I posit that pursuits of the unpopular have
more potential to disrupt this distribution than the purposefully popular,
as the latter is tailored to fall largely within its bounds.
Rancière’s theoretical framework offers a productive perspective for
thinking about issues pertaining to unpopularity and popularity as they
find expression within, and amongst discourses surrounding, politically
and socially critical writing about U.S.-America’s post-9/11 era. My conten-
tion is that such writing engages in politics in the manner that Rancière
conceptualizes, by adding to the ways we sense and perceive the post-9/11
political and social horizon. Naturally, this happens in ways that are in
accordance with the segmentation of the literary market and the media
landscape at large. The impulse to engage in political and social critique is
thus channeled through specific market structures that position the mean-
ing and reception of these texts, determine who their audiences will be, etc.
This process is one that generates complex negotiations regarding issues
of popularity and unpopularity—what I have respectively framed as the
pursuit of market-friendliness and the refusal to make such a blatant appeal.
After elaborating upon Rancière’s concept and relating it to notions
of the unpopular and popular (section II), I proceed with the three case
studies (section III). While I discuss the content of these three texts, I also
consider paratextual information (III.1), authorial comments (III.2), and the
selection of genre (III.3), respectively, to understand the positioning of these
texts as products. These dissenting commodities engage in the politics of
aesthetics while they are also framed within the limitations that the logic
of the market places on this endeavor.
II. Political Dissent and the Distribution of the Sensible
The premise that sensory perception is contingent upon social, political,

and historical regimes offers a powerful framework with which to consider
(un)popularity. Rancière establishes the phrase ‘distribution of the sensible’

to refer to a system of boundaries that define what is generally sensed
within a community. For Rancière, politics ‘consists in interrupting the
distribution of the sensible by supplementing it with those who have no
part in the perceptual coordinates of the community, thereby modifying
the very aesthetico-political field of possibility’ (Rockhill 3). Politics is the
integration of that which has previously been excluded from view, the
subjectivization of those not formerly acknowledged as speaking, acting
subjects.
According to such a framework, something can become popular if it falls
within the realm of what is recognizable to the senses. The unpopular, on
the other hand, confounds the senses; it arises from outside the frame of
what is knowable, visible, or audible—from an uncanny, non-normative
place excluded from dominant frames. The unpopular thus performs
politics by first disrupting and consequently reconfiguring the distribution
of the sensible. According to this extension of Rancière’s framework onto
notions of (un)popularity, politics is the introduction of the unpopular into
the field of the sensible. It involves bestowing something or someone with
the chance to be sensed—with legitimate and ontological presence—as
well as with the ability to influence the distribution to which it/he/she
belongs. The unpopular is both political and aesthetic because it alters the
purview of perception; it rearranges the coordinates of what is knowable,
visible, and imaginable.
As any form of cultural expression, non-fictional and fictional litera-
ture can exert pressure on the distribution of the sensible. Rancière often
stresses the difference between speech and noise in discussions of the
literary: speech is voiced by those participating in the distribution of the
sensible, while the latter is the din of the excluded. Political activity ‘makes
audible as speaking beings those who were previously heard only as noisy
animals’ (Aesthetics 4). For Rancière, most literature as we know it today has
emerged from an aesthetic revolution epitomized by the realism of Balzac
and Flaubert. In producing works that paid indiscriminate, impartial,
democratic attention to the minute details, objects, and artifacts of banal,
everyday life, these writers tore down hierarchies that ‘governed […] the
appropriateness of expression’ (Literature 10). They shifted to the ‘social
and political promotion of ordinary human beings’ (Literature 11). Instead
of portraying the actions of heroes, Rancière states that:
The sentences of Balzac and Flaubert may well have been mute stones.
[…] They don’t have voices like princes, generals or orators. But they only
84 Elizabeth Kovach
speak all the better as a result. They bear on their bodies the testimony of
their history. And this testimony is more reliable than any speech offered
by human mouth. It is the truth of things as opposed to the chatter and
lies of orators. (Literature 14)
Sentences like mute stones, I suggest, are sentences that communicate

without appealing to an audience. They are not crafted with the same kind
of rhetorical and political intentions as the sentences of ‘princes, generals
or orators’ and thus embrace the tenets of the unpopular as I have defined
it. This literary aesthetic was revolutionary, according to Rancière, because
it pulled the ‘testimony’ and ‘the truth of things’ from the realm of ‘noisy
animals’ into the field of speech.
I would add here that what were once revolutionary narrative tactics
during the time of Balzac and Flaubert have lost their singularity within
the logic of postmodernism. In an essay on philosophical honesty in post-
modern literature, Timothy Bewes stresses how sentences can no longer
appear like mute stones—autonomous and true—because ‘(1) a sphere
outside the administered realm of the market seems unimaginable at the
moment’ and ‘(2) because of the theoretical and philosophical objections
to the concept of aesthetic autonomy which arise in postmodernism’ (428).
Within a neoliberal market designed to absorb all human action (cf. Harvey
3), and with intertextuality and pastiche overriding the notion of ‘aes-
thetic autonomy’, attempts at literary ‘testimony’ and ‘truth’ are inevitably
compromised by a cultural and economic sphere from which an escape
‘seems unimaginable’. The unpopular is always already swallowed up by
the market’s highly obliging distribution of the sensible.
The distribution of the sensible could perhaps also be construed as
the distribution of the marketable. It seems that the more expandable
and accommodating this market distribution becomes, the less it can be
perturbed or produce significant counterweights to the speech of official
policymakers—the ‘princes, generals [and] orators’. As Jodi Dean writes,
the USA witnesses a significant discrepancy between ‘the circulation of
content and official policy. Both are politics, just politics of different sorts, at
different levels’ (20). Referring specifically to the post-9/11 era, she notes how
the Bush administration, for example, acknowledged what was a significant
deluge of dissent within various media channels and in the form of mass
protests on the streets as preemptive war on Iraq drew near. Yet, this was
acknowledgement of a right to express disagreement—of the fact that
people are entitled to their opinions, just as the administration had a right
to its own. The communication of dissent did not exert pressure on the
powers that were. A democratic openness of expression that continuously

revises the limits of the sensible proves to be compatible with a disjoint in
the mechanisms of democracy: ‘dense, intensive global communications
networks actually relieve top-level actors (corporate, institutional, and
governmental) from the obligation to answer […]’ (Dean 20).
These dynamics, I would venture, generate a desire amongst those
unsatisfied with the status quo for unvarnished, true communication and
a form of politics different from the actual ‘normative political sphere’ that
‘appears as a shrunken, broken, or distant place of activity among elites’
(Berlant 227). Ironic as it may be, in October 2003, Bush himself expressed
the wish to ‘go over the heads of the filter and speak directly to the people’
(qtd. in Berlant 223). Lauren Berlant discusses this comment in her book
Cruel Optimism, suggesting that the filter, which sorts out noise to make
communication possible, creates clear speech and strategic messaging,
as opposed to affective noise. Bush’s comment reveals a desire for ‘true
soul-to-soul continuity between politicians and their public’ (Berlant 226).
Such continuity would be democracy in an ideal state and communication
in its purest form.
This political fantasy of getting to the side of noise is what unpopular
artistic and aesthetic endeavors entertain. Pursuits of the unpopular,
while they cannot presuppose radical rupture within the postmodern
paradigm, nevertheless strive to bring untapped ideas and affects to light
and make them available for reflection. The texts presented in the next
section perform this kind of politics. They portray certain facts, stories,
and sentiments, drawing them into the purview of the sensible. I would
suggest that they stem from a desire for unfiltered politically and socially
critical expression. This desire, however, takes a transformational journey:
it is translated into words on paper, picked up by the appropriate publishing
houses, and packaged and publicized to meet the demands of the market
in which it ultimately circulates.
III. Commodified Critique: Three Case Studies
III.1 The Dark Side
In his description of writers like Balzac and Flaubert, Rancière emphasizes

how fiction, when democratically chronicling the minutiae of unremark-
able objects and lives, enters the same realm as testimony. It reports and
lays bare material to the reader’s eyes. The testimony that results from
investigative journalism, I would argue, attempts a similar type of politics.

With what became a bestseller within the American market, Jane Mayer
chronicles the way black sites such as Abu Graib, Guantanamo, and the case
for invading Iraq, among other things, were made possible. The Dark Side
suggests that Bush, Cheney, and close advisors obtained what many found
to be dubious legal opinions to sanction, for example, forced confessions,
extrajudicial detention, and the expansion of executive power. White House
insiders—not even political opponents but in-house lawyers, top military
and intelligence officials, allies and the British Intelligence Service—were,
as Mayer’s research attests, marginalized and penalized for challenging
decisions and expressing dissent. Much of this dissent remained hidden,
as these matters were protected by claims of national security. The admin-
istration essentially controlled and protected a specific ‘distribution of the
sensible’ and resisted attempts to rearrange its coordinates.
While it is interesting to consider the ‘distribution of the sensible’ and
the controlling of what could become popular inside the post-9/11 White
House, this is not my main intention in discussing this text. Rather, I mean
to highlight the politics of Mayer’s journalism itself, which gives voice to
many politicians, aides, intelligence workers, lawyers, military person-
nel and military psychologists—not to mention detained terror suspects
and victims of torture—who had been silenced. Her collection of details,
interviews, and researched facts about the course of events are laid out
chronologically. The book’s politics is about giving things presence, offering
them, making them available for recognition and acknowledgement. It pulls
information into the purview of the sensible—or, in Ranciere’s words on
literature, it ‘intervenes […] in the carving up of space and time, the visible
and invisible, speech and noise’ (Literature 4).
With a title like The Dark Side, the book also loudly announces itself as a
work that reveals concealed truths, the Other of the government’s official
narrative. Its purposefully flaunted appeal is the access it gives the reader
to unvarnished reality. As the review blurbs covering my edition claim,
this account, which became a f inalist for the National Book Award, is
‘deeply troubling’, ‘shocking’, ‘unsettling’; it is lauded as an ‘essential’ book
‘that should be read by every concerned American’ (this is the Anchor
Books edition, 2009 [2008]). The Washington Post writes that ‘[t]o dismiss
these [f indings] as wild, anti-American ravings will not do. They are
facts, which Mayer substantiates in persuasive detail’; Bloomberg News
says that the narrative takes the reader through ‘the processes by which
practices and methods we associate with tyrannies become official U.S.
policy’. What these reviewers consistently claim is that Mayer’s work
brings new facts to light, and that it is vital that they reach the public.
The book did, indeed, reach many readers, as its bestseller status proves.
It surely informed a significant number of U.S.-Americans about post-9/11
political realities largely excluded from the mainstream media’s cover-
age. When reviewers write that such a journalistic account is important
and essential, the question is to what ends does such importance and
essentiality aim?
One blurb is particularly striking in a different way than the others,
and it moves me toward a tentative answer. A reviewer for Slate is quoted
as stating: ‘Stunning…. If you’re a fan of 24, you’ll enjoy The Dark Side’. In
other words, viewers of the fictional television series 24 about Counter
Terrorism Unit agent Jack Bauer will also enjoy the heart-racing tale of
American tyranny Mayer reports. What the selection of this blurb for
the front matter (i.e. the pages proceeding the actual text) of this edition
indicates is that The Dark Side is marketed as a consumer experience and
form of entertainment. While I do not wish to insinuate that a TV series
like 24 is not critical in its own right, its critique operates metaphorically
while Mayer’s work of investigative journalism speaks directly of the facts
and gives voice to flesh-and-blood witnesses. The paratextual reference to
24 implicitly relegates The Dark Side to the same market segment occupied
by viewers of fictional television.
The selection of this blurb is symptomatic of an effort to gain favor—a
positioning of the book within a large and established consumer market.
In his work on the forms and functions of paratexts, Gérard Genette writes
that every paratext is
a privileged place of a pragmatics and a strategy, of an influence on

the public, an influence that—whether well or poorly understood and
achieved—is at the service of a better reception for the text and a more
pertinent reading of it (more pertinent, of course, in the eyes of the author
and his allies). (2)
The paratextual strategy of this blurb’s selection is to mobilize a consumer

segment. It sets the stage for a page-turning experience rather than for
collective outrage to which policymakers would have to answer. The impor-
tance and essentiality of the narrative that Mayer presents is thus packaged
as a politically dissenting, shockingly true document that is destined for
likeability amongst a certain milieu, rather than the grounds for the policy
changes Mayer implicitly begs for throughout the account she provides.
There is a push for popularity written all over this book’s packaging, while
its message is meant to function in an unpopular manner in the sense of

perturbing the status quo.
This packaging and presentation of disturbing information as ‘likeable’
is strange, though it is easy to overlook the strangeness of such a scenario
at first glance, because it has arguably become a naturalized phenomenon
within the current cultural logic. The ‘like’ function on Facebook comes to
mind as an analogy: awkward moments arise when users post troubling
information that friends, wishing to acknowledge the importance of such
content, end up ‘liking’ for lack of an alternative response mechanism. In a
similar sense, The Dark Side circulates as a product within the book market
and, as such, participates in a logic in which favorability-as-marketability
is its driving force. Its outrage-inducing content stands in tension with its
commodification.
III.2 Freedom
Jonathan Franzen’s novel Freedom supplements perception about American

politics, culture, and society with the breadth of politically charged themes
and plotlines pertaining to the post-9/11 era that it covers. It is a family
saga that begins just after 9/11 and traces the interrelated fates of various
protagonists. One of them is the family son, Joey Berglund, who has just
begun his college career when the 9/11 terrorist attacks occur. Imbued with
a sense of entitlement, Joey resents the attacks for their interference in his
college experience:
Joey Berglund had received numberless assurances that his life was
destined to be a lucky one. […] The world had given unto him, and he was
fine with the taking. […] [C]ollege looked like it would be an extension of
the world as he had always known it, only better. He was so convinced of
this—took it so much for granted—that on the morning of September 11
he actually left his roommate, Jonathan, to monitor the burning World
Trade Center and Pentagon while he hurried off to his Econ 201 lecture.
Not until he reached the big auditorium and found it all but empty did
he understand that a really serious glitch had occurred. […] [T]he deep
chagrin he’d then experienced […] became the seed of his intensely
personal resentment of the terrorist attacks. […].
In the days after 9/11, everything suddenly seemed extremely stupid to
Joey: It was stupid that a ‘Vigil of Concern’ was held for no conceivable
practical reason, it was stupid that people kept watching the same disaster
footage over and over, it was stupid that the Chi Phi boys hung a banner
of ‘support’ from their house, it was stupid that the football game against
Penn State was canceled, it was stupid that so many kids left Grounds to
be with their families […]. (232–33)
The novel performs politics in the way Rancière describes it not simply
because Joey’s perspective obviously counters post-9/11 discourses of
trauma, redemption, and heroism that bolstered the hegemony’s tightly
controlled distribution of the sensible. Rather, in portraying a character
like Joey, the novel performs politics in the detailed, democratic attention it
pays to the psyche of a young adult who is unremarkable, unadmirable, and
has absorbed neoliberal individualism to such a degree that he ‘personally’
resents national, collective tragedy. This is not a story of actors or heroes
but that of mundane living and, according to Rancière, ‘what literature pits
against the […] privileging of action over life, is writing seen as a machine
for making life talk’ (Literature 14). Franzen’s novel is a reporting on life that
integrates the unpopular into its fabric, thereby presenting it as an artifact
available to perception.
As Franzen states in an essay on novel-writing entitled Why Bother?, his
aims as a writer are not explicitly political nor does he expect the aesthetics
of his work to have much societal impact:
I can’t pretend the mainstream will listen to the news I have to bring.
I can’t pretend I’m subverting anything. […] I can’t stomach any notion
that serious [literature] is good for us. It’s hard to consider literature a
medicine, in any case, when reading it serves mainly to deepen your
depressing estrangement from the mainstream. […] Expecting [literature]
to bear the weight of our whole disturbed society—to help solve our
contemporary problems—seems to me a peculiarly American delusion.
To write sentences of such authenticity that refuge can be taken in them:
Isn’t it enough? Isn’t it a lot? (73–74)
Here, Franzen expresses a conviction in small, sentence-sized forms of

poetic truth, along with a professed disdain for the mainstream. As a writer,
he aims to offer refuge as opposed to calls for action. Novel writing is, for
him, not about political agendas and there is nothing particularly heroic
about the effort. The ‘bother’ is about refuge, retreat, reflection, and a sense
of connection between readers and sentences on the page.
When Oprah Winfrey, the highest-rated talk show host in U.S.-American
television history, announced that Franzen’s novel The Corrections, which
was published before Freedom, had been chosen for her book club, Franzen
publically expressed concern about what his instant popularity would

mean. He worried that his association with Winfrey’s pop-iconic status
would alienate his writer friends and the types of readers he most wanted
to reach. His reaction, not surprisingly, caused a wave of controversy and
motivated Winfrey to rescind the selection (cf. Kachka). The controversy
was nonetheless effective in putting Franzen on the map.
Franzen, especially by the time he wrote and published Freedom, had
become a brand name with a marketing machinery behind him poised
and ready to push his products and more or less ensure their commercial
success. His post-9/11 realism reaches a widespread public, because it is
presented as a high-demand commodity. The ‘Oprah incident’ suggests
that Franzen is not fully comfortable with the phenomenon he has become.
He wishes to satisfy the desires of those who value the unpopular and
feel a ‘depressing estrangement from the mainstream’. This, not hype and
attention, is the source of his pride as a writer. There is certainly something
snobbish and judgmental about this desire to be unpopular. It presupposes
that mainstream audiences lack the subtlety or acumen to take refuge in
sentences according to Franzen’s design, that the realm of the popular
glosses over and fails to grasp the text’s poetic truth.
Yet, perhaps Franzen’s discomfort is more accurately about the politics of
aesthetics. When a book is hyped in the way Freedom is, it becomes difficult
if not impossible to discern if its success, in terms of sales, truly depends
on its content or marketing and publicity. Its popularity is anything but
spontaneous or surprising and its circulation among readers is by no means
autonomous. What is more, the reading process becomes prefigured, or pre-
mediated, by the hype. This is a potential conflict of interest for the politics
of Franzen’s novelistic aesthetics. When they are lauded as coming from the
greatest American novelist of our time, Franzen’s sentences are loaded with
platitudes and an imposed weightiness that they are not meant to possess.
In depicting Joey’s reaction to 9/11, for instance, Franzen is arguably not
voicing political opinion through his character, but rather attempting to
transcribe the noise of life into discernable speech. The novel’s politics, as
in this particular scene, lies in its embrace of an unremarkable, unlikable,
selfish college student. Joey’s personal resentment towards the 9/11 attacks
as well as the outpouring of emotion and campus activity they unleash is a
depiction of an unpopular, post-9/11 structure of feeling.
Like the un-heroic and un-admirable Joey, Franzen’s own aesthetic is
meant to be un-heroic in itself, not met by an applauding Oprah-show
studio audience or interpreted as the definitive social portrait of our times.
Its aim is to expand the distribution of the sensible into the flat, banal,
embarrassingly human stuff of U.S.-American experience since 9/11. This is

the politics and the aesthetic that the novel’s popularity might overshadow
and the potential source of Franzen’s controversial reaction to the main-
stream favorability that the phenomenon of Winfrey’s book club selection
guarantees.
III.3 thisconnectionofeveryonewithlungs
The degrees of (un)popularity of a published text depend on its genre.

Mayer’s non-fictional ‘current events’ book and Franzen’s literary novel
represent two of the most readily bought and sold genres on the market.
By choosing to write poetry, a writer also inherently accepts the limited
extent of her own (un)popularity. Even the most renowned poets would
not garner the kind of media hype or sales figures that a popular novelist
would. Juliana Spahr published a series of personal and political poems
written from her home in Hawaii between 2001 and 2003, which she enti-
tled thisconnectionofeveryonewithlungs; it begins with a poem about 9/11,
followed by others concerned with its political aftermath. The spirit and
structure of Spahr’s lyrics are in the tradition of Walt Whitman. Formally
and thematically, they cultivate notions of connectedness. The ethos of
these poems is clearly to expand the distribution of the sensible into an
all-encompassing whole.
Spahr’s words aim to refigure notions of selfhood that banish individual-
ity and selfishness to create an ethical mode of being that fosters awareness
of the contingency between the cells, the body, personal space, the state,
nation and international spheres, through to the limitless expanses of
outer-space. In the 11 March 2003 entry she writes:
Bush keeps saying he will go it alone if he has to.

Huge protests continue, protests without alone and against alone.
It is the word alone, beloveds, the word alone.
When I speak of alone I speak of how there is no alone as Pakistan
claims it is moving in on bin Laden, as Iran’s nuclear plant is
nearing completion, as Oscar organizers announce that the show
will go on in the event of war.
……………………
It is an uneventful day as we sit here waiting for news.
The television promises updates on the situation with Iraq on the
half hour.
Our apartment is small and is buried between two other apartments,
92 Elizabeth Kovach
one above and one below.

Beloveds, my desire is to hunker down and lie low, lie with yous
in beds and bowers, lie with yous in resistance to the alone, lie
with yous night after night.
But the military industrial complex enters our bed at night.
We sleep with levels of complicity so intense and various that our
dreams are of smothering and of drowning and of the military outside
our door and we find it hard to get up in the morning. (61–63)
In Frames of War, Judith Butler responds to U.S. foreign policy since 9/11 by
asking that we reconsider subjectivity in a way that ‘implies living socially,
that is, the fact that one’s life is always in some sense in the hands of the other.
It implies exposure both to those we know and to those we do not know’
(14). Spahr engages in a similar reframing by resisting ‘the alone’—resisting
a sense of enclosure to accept complicity, resisting a narrow distribution of
the sensible to cultivate a globally scaled form of awareness. She advocates
a sensibility through which the discrete boundaries of bodies and things
dissolve and frames collapse.
This wish for an all-inclusive distribution of the sensible is a wish for
the end of politics in the way Rancière defines it: with no noise waiting to
be turned into discernible speech, with nothing excluded awaiting entry
into the purview of perception, the post-political, democratic vision Spahr
cultivates is utopian. She figures a space in which everything is awarded
ontological presence, legitimacy, and equal footing—in which terrorism,
weapons of mass destruction, and preemptive war would be rendered use-
less. But, as Spahr acknowledges, the ‘military industrial complex’ persists
and waits ‘outside our door’.
Ultimately, Spahr’s poetry cultivates a vision that self-consciously admits
to its own limitations. Rancière describes writing that tries to prefigure the
future and write new life into being as inherently thwarted by the fact that
it can only draw from the world available at the time of its composition.
Instead of envisioning new forms of life out of nothing, writing is ‘a powerful
machine for self-interpretation and for the re-poetization of life, capable
of converting all the rubbish of ordinary life into poetic bodies and signs
of history’ (Literature 29). The notion of a ‘new body that sings the hymn
of the new world is destined to remain a utopia, at once necessary and
unrealizable, by means of which the regime of literary writing projects itself
beyond itself’ (Literature 29). Instead of forging the new, the writer can only
really convert what is unpopular and excluded into the distribution of the
sensible. Boundaries are not collapsed but shifted.
Spahr pursues what is ‘necessary but unrealizable’, not merely in terms

of what her poetry can achieve but also, I would argue, by choosing to be a
poet herself. Successful and recognized as she is, she devotes her energies
to a relatively unpopular mode of cultural production. Her efforts go into
words that will shift thought and experience within an intimate circle. As
she writes of her apartment, framed by others on all sides, social experi-
ence is ultimately one of compartmentalization, not fusion. The military
industrial complex waiting outside her door blocks the extension of social
engagement that she is able to cultivate domestically and creatively. She
engages in a small form of politics in the sense that the message of her
poetry is limited by the market of readers for which contemporary poetry is
packaged and marketed. The impetus for writing is thus not revolutionary
but a modest contribution to latent and untapped realms of perception, to
honing and preparing the senses for new configurations of reality not yet
fully imaginable. Spahr produces an inherently unpopular type of text yet
still bothers to bring it into existence, and thus she upholds the conviction
that even the smallest contributions to the distribution of the sensible are
worth our while.
IV. Conclusion: Framing Counter-discourse
I have covered a range of different genres of text. Yet, from Mayer’s laying
out of facts to Franzen’s depiction of mundane subjects to Spahr’s verses
about complicity and connectedness, all these texts perform politics, or at
least attempt to add to the way we sense and perceive the social and political
contexts they address. This kind of politics is about illuminating parts that
have no part (to paraphrase Rancière). It is about giving the unpopular the
option to become popular and to ‘introduce lines of fracture’ (Rancière,
Aesthetics 39) into arrangements of perception. A discourse counter to those
disseminated by top policymakers and the mainstream media takes shape,
is circulated and documented, via such publications.
Instead of simply focusing on how the case studies presented here
function in counter-discursive manners, however, my aim has been to
understand the fate of counter-discursive publications within the logic
of the publishing market. Mayer’s investigative journalism is packaged as
a thrilling experience as much as it comprises a document of potentially
serious political consequence. Franzen’s literary fiction seeks to honestly
portray American society and tap into a truthfulness of experience that pan-
dering to a market arguably taints; yet, his novels are hyped more than those
of almost any other contemporary U.S.-American novelist today. Spahr’s
94 Elizabeth Kovach
poetry funnels dissenting expression into an intimate sphere, making her

global vision knowingly utopian and inevitably limited. All of these cases
have exposed a tension between the degrees of popularity (the purposeful
setting out to gain favor and market viability) and unpopularity (expression
free of targeted appeal) that such texts symbolize. I have thus explored
how these publications embody tensions surrounding (un)popularity. This
essay is meant as an impulse for further inquiries in such a direction—into
reading critical texts not simply for their messages but also for how such
messages are framed for the market, and what this does to the channeling
and fate of dissent.
Works Cited
Berlant, Lauren. Cruel Optimism. Durham: Duke UP, 2011. Print.

Bewes, Timothy. ‘What is ‘Philosophical Honesty’ in Postmodern Literature?’ New Literary
History 31.3 (2000): 421–35. Print.
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Politics. Durham: Duke UP, 2009. Print.
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Secrets, Lies and The Real Housewives
The Death of an (Un)Popular Genre
Dan Udy
‘I’m from this town, I know what’s real and what’s fake.’
—Kyle Richards, The Real Housewives of Beverly Hills, season 4 opening credits
Through the course of this compendium, my fellow contributors and I

aim to work through what it is that makes up ‘unpopular culture’. This is
no easy task, and if any conclusion is to be drawn it is that there is, quite
simply, no single definition. Where does one draw the limit on ‘culture’?
Are we speaking of productions, people, or practices? And what do we
mean by ‘popular’? To identify these ambiguities hardly breaks new critical
ground, yet to consider them in light of the unpopular is to venture into
relatively uncharted territory. Our rubric brings together two terms that
are multivalent and broad in scope, and this essay does not intend to sketch
out all its possible manifestations or provide a unifying answer to the ques-
tions raised above. What this collection instead aims to do is break down
unpopular culture into its constituent parts. When viewed as a whole,
maybe our examples will provide a more coherent image of the myriad
directions these cultural forms can spread. Before moving forward, though,
some refinements are needed, and by re-distributing ‘unpopular’ into a set
of sub-categories the theoretical grounding for what is to follow may become
clearer. These adjustments are made by way of punctuation, an academic
technique that, according to an old professor of mine, ‘was fashionable
about ten years ago’. Amusingly fitting, then, for use here.
Underground music, the Westboro Baptist Church (WBC) and Justin
Bieber could all be described as ‘unpopular’, but the disparities between
them show that with each use of the term we mean subtly different things.
For example, fans of bands with a strong presence on Pitchfork, but not the
Billboard Hot 100, position themselves outside the general public. Audiences
are small in size, but are united in a shared appreciation for a genre. They
are, to use the Latin root, not of the ‘populus’. Denunciation of the WBC
is shared by politicians and ordinary individuals across the globe, and
although these two examples may seem radically different, they do, in fact,
share a common trait. They incite homogenous audience behaviors, both
96 Dan Udy
taking different interpretations of ‘popular’ (audience size and positive

appreciation) and inverting them completely. An essay could be devoted to
unpacking distinctions and relations between the two, but I merely claim
that ‘unpopular’ is in these cases appropriate. Other cultural figures and
productions, though, require a reconstruction of the term to reflect the
complex behavior of those who interact with them.
The un/popular, here exemplified by Justin Bieber, splits its audiences
into two opposing factions where ardent fans clash with critics and wider
audiences. A slash literalizes this process through its double meaning,
signifying not only a punctuation mark but also an act of violent divi-
sion. Tensions between fans and critics are often played out across online
social networks and blogs, and it is through such confrontations that the
dialectic of un/popularity is maintained. In negotiating this virtual space
fans also sometimes inhabit both sides of the binary division: self-fashioned
tribal groups (Lady Gaga’s ‘Little Monsters’, Justin Bieber’s ‘Beliebers’, One
Direction’s ‘Directioners’, etc.) engage in hostile exchanges, defending their
chosen idols while viciously attacking others.
A second reconstruction of ‘unpopular’ further muddles the coherence of
a viewing demographic. The (un)popular’s audience is not homogenous, but
nor is it singularly defined by internal conflict. While the un/popular fosters
a semantic antagonism between its composite parts, the (un)popular’s
inverted popularity is subjugated through a bracketing. It is what audi-
ences ‘hate to love’ instead of ‘love to hate’, and although the boundaries
between these separate permutations of unpopularity are by no means
rigid, objects of (un)popularity are often subject to a more light-hearted
approach. Audiences that embrace these productions simultaneously reject
them, or are aware that they should reject them, and this process establishes
the (un)popular as a close cousin of camp (it is no coincidence that there
is significant overlap between examples of the two). Such behavior is, of
course, by no means unanimous across all individuals who engage with
these cultural forms; for every media text declared ‘trashy’ or ‘tasteless’
there will be those who genuinely invest in it, lacking the cultural capital
that tells them they should, apparently, know better. However, when a
substantial proportion of an audience decry the music they repeatedly listen
to or the television show they can’t bear to miss, an (un)popular category
of forms—the guilty pleasure—is born.
When preparing to deliver an early form of this essay, mention of its
topic was often met with a laugh or smirk. There was an amusing incon-
gruence to a conference paper on a lowbrow Reality TV show. Potentially
subversive and definitely comic, discussing The Real Housewives would be
Secre ts, Lies and The Real Housewives 97
an unpopular gesture in most academic circles, and even when presented at

a conference titled Unpopular Culture it did not fail to elicit the occasional
giggle. To conduct scholarly work on a brazenly vapid television series was
funny because, quite simply, it felt like breaking the rules. Despite the
decades that have passed since cultural studies formed a discipline in its
own right, the notion that scholarship must be ‘serious’ if one wants to get
an academic job has somehow managed to persist. All of us in that room
were—not for the first time that weekend—deviating from this apparent
norm, and (un)popular, in this particular context, came to signify more
than ‘guilty pleasure’: it is the not-serious, the playful, the improper and
the out-of-place.
The Real Housewives of Orange County was developed by Scott Dunlop in
2004, and, after being bought by the American network Bravo, premiered on
21 March 2006. It was the third in a sequence of television programs focusing
upon the affluent residents of Orange County, California, beginning with
teen drama series The O.C. (Fox, 2003-2007) followed by Laguna Beach: The
Real Orange County (MTV, 2004–2006), replacing the former’s fictional char-
acters with real-life group of adolescents. The figure of the Orange County
housewife—surgically enhanced, permanently medicated and devoted
to a full-time schedule of social engagements—featured as a peripheral
element to both, and was mythologized as a distinctly local phenomenon.
Further influenced by the recent success of Desperate Housewives (ABC,
2004–2012), the show capitalized upon the popularity of affluent female
subjects by following a group of women living behind the gates of Coto de
Caza, a private residential community. In the years since its premiere the
franchise has reached unprecedented levels of success, with a rumored value
in excess of half a billion dollars and a peak rating of 3.1 million viewers
over The Real Housewives of Atlanta season five. At the time of writing, six
more U.S. editions have aired (set in New York City, Atlanta, New Jersey,
Washington D.C., Beverly Hills and Miami) alongside seven spin-offs, and
it is the first docusoap to franchise overseas with international editions
in Greece, France, Canada and Australia. Its (un)popularity is evidenced
through an all-pervasive cultural reach: a 2012 Hollywood Reporter cover
story declared the franchise to be ‘the guiltiest pleasure on television’
(Bruce), and it even earned a humorous acknowledgment in a speech by
President Obama the same year. In a recent interview, Dunlop declared
that ‘[y]ou can love the show, you can hate the show but you really can’t
ignore it’ (qtd. in Day 16).
After undergoing refinements through its early seasons, each edition
of The Real Housewives now follows a relatively standardized format. Cast
98 Dan Udy
members are documented as they navigate the trials and tribulations of

female friendship, formed in part by pre-existing bonds but also through the
show’s artificial augmentation of social groups. Narratives unfold amongst
patterns of relentless consumption: exotic holidays, plastic surgery, extrava-
gant parties and luxury shopping trips form the rotating background against
which the drama of each season takes place. Fly-on-the-wall documentary
footage forms the bulk of each episode, interspersed with video confession-
als that, although filmed retrospectively, deny their temporality through
a present-tense narration of each woman’s thoughts and feelings. Polished
aesthetics characterize these segments: a green-screen is replaced with
images of opulent domestic interiors, coupled with soft lighting, expensive
dresses and heavy make-up. At the closing credits for each episode a cast
member’s voice-over directs viewers to Bravo’s website, where official blogs
by each of the housewives are posted to offer further thoughts on the footage
and enable additional interaction with their fans. At the end of each season
the cast are brought together by Bravo vice president Andy Cohen for a
reunion episode (or episodes, sometimes split into multiple parts), in which
protagonists are shown footage from the past season and asked for their
thoughts on the events that transpired.
Similar to unpopular culture, the category of ‘docusoap’ is marked by
ontological incoherence. Its trajectory is difficult to precisely chart, given
the gradual process of hybridization through which it occurred and the
historical analysis that grouped programs into new generic clusters. PBS’s
An American Family (1973) is often identified as the genre’s earliest and most
prominent example, in which a documentary used the narrative structure
of soap opera to chronicle the lives of the Loud family from Santa Barbara,
California. Cameras captured the unexpected dissolution of the domestic
unit when Pat Loud asked her husband Bill for a divorce, and also followed
their eldest son Lance move to New York City and immerse himself in the
downtown queer arts scene. This identification as a docusoap, though, is
a retrospective one, and the use of the term in relation to contemporary
media did not occur until two decades later. Although the focus of this essay
is restricted to American visual culture, the simultaneous emergence of the
docusoap on both sides of the Atlantic can yield some useful context; Janet
Jones’s survey of British journalism shows the term entering our lexicon
most prominently in 1998 (cf. 76), so it would be accurate to assume the
genre emerged a few years prior.
Experiments in format between the realms of factual and f ictional
programming produced a range of new generic types, in which dramas such
as E.R. and NYPD Blue adopted the visual grammar of the documentary,
while MTV’s The Real World used documentary footage and confessional
interviews to narrativize the lives of a group of strangers picked to live
together. This particular mode of production quickly proved unpopular
with critics, who bemoaned the undermining of documentary’s founding
principles in favor of mass entertainment, and expressed frustration with
the quick proliferation of cheaply-produced programming and its cast of
interchangeable, everyday people. The visual format employed by The
Real World has since developed into the most culturally prolific form of
docusoap today, to the extent that it has become synonymous with Real-
ity television—in fact, a sprawling array of diverse media—in the public
imagination. Now continuing into its third decade on the air, the show’s
structure has remained largely unchanged and is reflected in a huge number
of popular programs across a global array of broadcasting networks. The
Real Housewives displays many hallmarks of internationally successful
docusoaps such as Jersey Shore and Keeping Up With the Kardashians: it
combines fly-on-the-wall footage with direct-to-camera interviews, narra-
tivizing its content through soap opera-esque edits and dramatic music.
A continuity of cast members between seasons charts their develop-
ment from ‘normal’ women to public figures, and in doing so the show
produces a self-reflexive documentation of the perks and pitfalls of Reality
TV fame. As their public profile increases, the women adapt their behavior
and appearance accordingly—original Orange County Housewife Lauri
Peterson describes the cast of season one as ‘virgin housewives’ who quickly
substituted ‘no make-up and sweatpants’ for more glamorous fare once
they witnessed themselves on screen (‘100th Episode Special’). Alongside the
manifest pressures of the film crew’s presence, the cameras of the paparazzi
eventually come to exert their influence. After encountering their mediated
representations the women react to their appearance on screen and in print,
and as viewers we witness the trajectory of this peculiar phenomenon. By
allowing the process of celebrification to feature within its tightly-edited
narratives The Real Housewives maintains a precarious link between Real-
ity and reality that carves its own space within a crowded genre whilst
simultaneously undermining its numerous, and necessary, fictions.1
Within the franchise, degrees of authenticity are modelled according
to the multiple footage types used, forming a Chinese box structure. Each
segment purports itself to be the location of authentic thoughts and feelings,
yet as these move outwards cast members reflexively analyze themselves
and others to reveal to their audience their ‘real’ opinions. Confessionals
reflect upon the core documentary footage, official blogs analyze episodes
as a whole and final reunions examine the contents of all three, during
100 Dan Udy
which editing techniques, on-screen personas and off-camera events are

all discussed. As seasons progress and the housewives’ celebrity status de-
velops, digital tabloid media emerge as a powerful force which reformulates
this structure from both its epicenter and periphery. Interactions between
storylines and the internet and tabloid press begin to occur, disrupting its
episodic narrative by the immediacy of gossip blog and social media posts
that reveal to Bravo’s audience the chasm between transmission dates
and the actual time of production. Stories relating to the cast, particularly
‘behind-the-scenes’ gossip, are delivered with up-to-the-minute speed by
outlets such as TMZ and Radar Online, providing information on ‘real-life’
drama beyond the confines of the show and the extent to which scenes
are contrived by Bravo. When these become embroiled within the show’s
storylines, a new hybrid R/reality is produced; as an active and temporal
construct, it is maintained by and dependent upon the tensions between
real life and its augmentation.
This symbiosis produces a genre in perpetual flux. Tied as it is to the im-
mediacy and frenetic turnover of the tabloid media, docusoap programming
presents difficulties for scholarly work. The categorical ‘presentness’ of the
viewing experience makes retrospective viewing surreal and incomplete, and
this takes an admittedly comic turn with the unrelenting pace of surgical
upkeep (watching old seasons appears to make breasts deflate and noses
grow). Translating such temporalities into the permanence of the written
word, then, risks fast becoming irrelevant, if not incorrect. In the short
period between this essay’s original presentation and the time of writing,
new seasons of the franchise have come and gone, and more will inevitably
follow. A strategy for the most accurate representation of such media texts
is to engage with very recent and current programming, yet the original
examples used are now, of course, already comparatively dated. For now,
though, this essay’s main proposals continue to be demonstrated, and I will
use my original examples alongside some more recent case studies. My focus
will be restricted to two particular instalments of the franchise which have
exemplified the tumultuous relationship between Reality and reality, and
its mediation through tabloid gossip. The intermedial nature of The Real
Housewives of New Jersey (2009–present) and The Real Housewives of Beverly
Hills (2010–present) is demonstrated through cast members’ engagement with
stories online and in print, where articles published by TMZ, Radar Online,
People magazine and US Weekly become anchor points between which plot
lines are drawn and from which dramatic confrontations are frequently
provoked. This phenomenon is hardly limited to these two instalments, but
for the sake of coherence within this survey it is necessary to refine my scope.
With its setting in the affluent Los Angeles suburb, The Real Housewives
of Beverly Hills is situated in the epicenter of the tabloid and entertain-
ment industries, an area housing major TV and film studios as well as
the headquarters of numerous print and digital media outlets. Its cast
are embedded within a social circle that features many high-prof ile
celebrities—current housewives Kim and Kyle Richards are aunts to
Paris Hilton—and interactions between its cast and tabloid journalists
or paparazzi occur with a higher frequency than other installments of
the franchise. Street photographers are evident as a peripheral element
of everyday life for the city’s wealthy residents, concentrated within
particular areas where the Housewives live and socialize. The relative
normalization of tabloid encounters amongst the residents of Beverly Hills
eases their transition into public figures, initiating conflicts and develop-
ing narratives with which audiences are able to directly engage. One
particular confrontation exemplifies the feedback loop between online
gossip and events within the show, and is constructed through a web of
dialogic exchange between cast members and journalists. Although it is
by no means the only instance of such conflict, it succinctly demonstrates
the complexities of this process.
In the reunion episode for season two, cast members Lisa Vanderpump
and Adrienne Maloof trade accusations regarding the selling of stories.
When Vanderpump alleges that Maloof’s chef leaked information to the
tabloids, the latter responds by claiming that Vanderpump had sold articles
to Radar Online for the amount of $25,000. For viewers wanting to decipher
the truth to these contradictory claims, the website itself posted articles
covering its inclusion in the episode:
The Real Housewives of Beverly Hills all have one thing in common—they
love RadarOnline.com! In the reunion episode that aired Monday night,
Radar was the center of attention, because we apparently really get under
their skin. […]
So was Adrienne right? Did RadarOnline.com pay Lisa $25,000? Find the
answer on twitter at @IMPerel.
(‘Real Housewives Fight At Reunion—Over Radar!’)
Through directing readers to the page of Twitter user IMPerel—a.k.a. David

Perel, the company’s Executive Vice President—the normally mediated
exchange between journalists and the cast is transformed into direct com-
munication. Indeed, the use of Twitter by the Housewives serves a key role in
102 Dan Udy
the expansion of the show’s narrative to a real-time space, equalizing three

forms of subject (cast, journalists and viewers) within the same interac-
tive virtual domain, and allowing the possibility for viewers to enter into
conversation. In a follow-up story on the website, quotes are taken from
Perel’s Twitter conversations with Vanderpump and Maloof and it transpires
the argument was apparently a misunderstanding.
After talking to both ladies, Perel figured out who had communicated
the false information to Adrienne and the air was cleared.
‘@IMPerel Thank you for your support, I know what @TheRealCamilleG

and I were told. Moving fwd in a positive direction! xoA’ Adrienne tweeted
on Tuesday to Perel.
‘Thank u!! following you @IMPerel glad we can move on to more impor-
tant things! Have a great day!! XoxoA’
Lisa also tweeted in support: ‘@radar_online thank you for supporting

me and not that bullsh*t…means a lot’.
(‘Lisa Vanderpump & Adrienne Maloof Feud Over Radar: All A Big
Misunderstanding!’)
Negotiations of authenticity and attempts to establish ‘the truth’ feature

heavily throughout The Real Housewives, and are often the primary catalyst
for its narratives. Considering the relative stability of their affluent lifestyles,
the show’s dramatic events must be constructed predominantly from the
fabric of inter-personal relationships.2 As public figures with lucrative
personal brands, the cast are aware that reputation is tightly linked to
financial gain; Bravo’s viewers are, in essence, consumers, targets of subtle
(and frequently unsubtle) product placement of the books, clothing and
beauty products the Housewives endorse. Indeed, the inclusion of business
ventures and products, alongside pay increases, has even been factored into
contract deals for popular returning characters (‘Exposed!’). Rose and Wood
explicitly address this model of viewership in their article ‘Paradox and the
Consumption of Authenticity through Reality Television’, and conclude
that audiences ‘increasingly value authenticity in a world where the mass
production of artifacts causes them to question the plausibility of the value’
(286). In a competitive effort to self-market along these lines, proclama-
tions of ‘realness’ and authenticity abound as the women collectively try to
determine who is, or is not, ‘fake’. In this case, the context of Beverly Hills
provides a backdrop of normalized ‘fakeness’ against which the Housewives

position themselves: alongside surgical enhancement, superficial perso-
nas are touted as a well-known stereotype of wealthy Angelenos, leading
Yolanda Foster to ask Lisa Vanderpump in season 4 episode 17, ‘Are you a
Hollywood friend or a real friend?’ (‘Lines in the Sand’).
These conflicts are magnified within reunion shows, in which a legalistic
mise-en-scène evokes the theatrical arrangement of the courtroom. Host
and Bravo executive Andy Cohen is flanked by the cast on opposing sofas
and mediates in sometimes violent altercations. Damaging rumors are
traced back to their source, and cast members exchange accusations of lying
in an attempt to maintain and accumulate authenticity as a valuable form of
social capital. Objects of ‘proof’ are used as evidence in their pre-meditated
confrontations, in which photos, text messages and print-outs of e-mails are
brought by the Housewives to make their case for truthfulness before the
jury of their fellow cast and viewers at home. The literal value of authenticity
in this case, as a determining factor in viewer popularity, could be perhaps
conceived as an economic drive behind such conflicts, in which social
capital stands in for its financial equivalent. Postmodern philosophical
scholarship, however, cannot be entirely ignored in favor of a purely Marxist
approach: this search for authenticity can be, and often is, formulated as a
response to the postmodern condition itself. Instead, the clear financial mo-
tives behind establishing ‘authenticity’ could be seen to merely exacerbate
the epistemological uncertainties felt by subjects of postmodern culture.
That the differentiation between fact and fiction occurs both within and
beyond the bounds of the camera’s frame is testament to the prevalence
of this cultural anxiety, and is demonstrated by efforts of fans to peel back
façades of production. The timed, dated interactions between cast members
and viewers through social media are used to re-chronologize the show,
matching dates of tweets and sightings of the cast with events portrayed
on screen. Through exposing the re-arrangement of events to form satisfy-
ing narratives, independent bloggers collude with tabloid media in their
galvanization of cynical, suspicious viewers. If chronological adjustments
can easily be de-coded, then what other elements of reality have been
manipulated? Whilst edits can, with in-depth detective work, be unveiled,
what about producer interventions, or performative elements that influence
the raw footage?
The disorientating generic hybrid of the docusoap induces unsettling ef-
fects upon its audience, captured in Annette Hill’s observation that ‘viewers
describe themselves as watching a bad dream, trying to work out what is
real or not in the topsy-turvy world of reality entertainment’ (89). Reality
104 Dan Udy
television—as manifested in the docusoap—is, then, characteristically

postmodern in its in-betweenness, and the viewing experience is theorized
as such. Rose and Wood point to a ‘postmodern paradox’ (286) at the heart
of this search for authenticity, whilst Janet Jones describes the process in
a 2000 article title as ‘The Postmodern Guessing Game’. Jones’s essay is
telling in its particular phrasing: the docusoap is not a postmodern guessing
game, it is the guessing game. This is not to say that uncertainty is only
inherent in encounters with the docusoap—far from it, in fact, as one could
argue a similar response through the spectrum of postmodern cultural
productions—but rather that the multiple anxieties brought to bear upon
the viewing experience typify the concerns of our contemporary epoch.
Here, I follow the view that postmodernity is ongoing, and while this
perspective is certainly open to debate (countless variations of ‘post-
postmodernism’ have been proposed, but few–if any–have gained traction),
general consensus points to its beginnings in the late 1970s. From this mo-
ment onwards, postmodernism’s most transformative effects can be seen
the field of subject-image relations. Coupled with a broader suspicion of
grand narratives and a burgeoning discourse on the politics of representa-
tion, the photographic image was deconstructed along lines of race, class,
and gender by both visual artists and critics. Documentary photography’s
claim to neutrality formed an easy target for this cultural interrogation,
and the digital turn only heightened such suspicion when its claim to
verisimilitude—indexicality—was removed. As a consequence, the drive
to challenge documentary’s ‘truthfulness’ is exacerbated when its already
contestable forms are merged with the inherent fictions of entertainment.
Audiences are prompted to work through its mesh of realities to distinguish
its constituent parts, and the unique quality of The Real Housewives is the
bleeding of this process through the screen. When this crisis is addressed
within episodes of the show it reveals a unique degree of self-reflexivity,
but also slowly begins to expose and unravel its inner workings.
Not only are anxiety-driven responses to The Real Housewives character-
istic of docusoap programming, but the specific discourse of differentiation
also forms the genre itself. Building upon the discourse model of cultural
genre theory in which genres are maintained through locating a text in
identifiable clusters, the interactive commentary on tabloid websites and
social media can be seen to create, and perpetuate, the docusoap genre
through the very nature of its investigations. In ‘A Cultural Approach to
Television Genre Theory’, Jason Mittell proposes that ‘a more satisfying
macro-account of a genre’s history’ can be built ‘from the bottom up, by
collecting micro-instances of generic discourses in historically specific
moments and examining the resulting large-scale patterns and trajectories’

(10). Specific events within the Beverly Hills and New Jersey instalments
document confrontations between fact and fiction that hallmark The Real
Housewives’ contributions to the docusoap genre. They pinpoint new R/
realities created by the show, yet also indicate a compulsive drive to self-
revelation threatening to wreak havoc upon the genre it inhabits. In such
instances, legal threats have prompted Bravo to remove large proportions
of footage, transforming the symbolic presence of the law (the reunion as
trial; the use of evidence or proof) into a literal one, and shifting its agency
from an internal negotiation to an external force. This shift occurs via
a complex middle ground in which cast members themselves invoke its
authoritative presence.
Efforts to maintain a distinction between Reality and reality are
frequently demonstrated by the Housewives, such as in Kyle Richards’s
book Life Is Not a Reality Show: Keeping it Real with the Housewife Who
Does It All. When this occurs alongside a simultaneous drive towards
authenticity, though, the two come into a destructive collision, and this
is most acutely shown in a plot line starting from season 3 episode 6 of
The Real Housewives of Beverly Hills. When in a group conversation with
other cast members, Brandi Glanville expressed frustration with the ‘lies’ of
fellow Housewife Adrienne Maloof, and in her efforts to expose ‘the truth’
revealed an apparently shocking piece of information. That this gesture
was controversial was only deducible from reaction shots, after lawyers
acting at Maloof’s behest forced producers to cut the content from the
show. The ongoing conflict initiated by this revelation, however, provided
the central storyline for the season, and the audio of Glanville’s allegation
was simply removed, leaving collateral information behind. The gaps in
audio prompted an online discourse of docu-/soap differentiation, which
attempted to re-insert Glanville’s words into the Housewives narrative. Her
continual utterance of this void in the media commentary accompanying
the furor (when asked, she replied that she was banned from discussing it)
urged viewers to complete her forbidden declaration by searching, through
the usual online channels, for what exactly was removed. Tabloid gossip
outlets quickly revealed that the information Maloof had been so intent on
silencing was that she had used a surrogate for her youngest two children,
despite claiming that she had given birth naturally. After forcing Bravo
into extensive and costly re-edits she confirmed the rumor in an US Weekly
cover story, and subsequently refused to appear for the reunion show taping.
Maloof’s handling of the allegation eventually resulted in her firing from
the show, with host Andy Cohen explaining in his opening monologue that
106 Dan Udy
This season was hard on Adrienne, as you all know. A secret about her
family was revealed by Brandi. And from that moment on, Adrienne
refused to speak directly about it. We know that frustrated you in the
audience, and that frustrated all of us too. If you read the tabloids you
might have theories on what the secret is, but Adrienne won’t be here to
tell her side of the story. Not only is she absent tonight, but she won’t be
on the show next season. (‘Reunion: Part One’)
Her decision to abstain from the reunion was not followed by Paul Nassif,
Maloof’s then ex-husband from whom she announced her separation in
the season finale. Choosing to appear through a pre-recorded interview,
he dismissed the accusation propagated by his ex-wife that Glanville was
responsible for the breakdown of their marriage, instead blaming the moment
when ‘Reality became reality’ as a catalyst for his divorce (‘Reunion: Part Two’).
Here, the show’s construction of the Real forms a pattern of simultaneous
in-/exteriority. This transformation emerges again within case studies—Mit-
tel’s ‘historically specific moments’—that chart a broader unravelling of the
genre, where lawsuits from external individuals have been brought against
cast members, production companies and Bravo itself, causing fissures
within the precariously maintained docu-soap structure. These points of
rupture take the form of narrative voids which similarly led viewers to tabloid
websites in order to uncover the secrets of absent footage. Two examples from
seasons 4 and 5 of The Real Housewives of New Jersey differ in post-production
editing technique, ranging from a complete and seamless removal of foot-
age to explicit omissions that frame invisible content through remaining
shots. They both, however, share a degree of significance with regards to
the docusoap’s disintegration: they expose the means through which drama
is orchestrated, and the contractual agreements used to maintain control
over the cast, their mediated representations and, by extension, reality itself.
Whilst filming during a holiday in the Dominican Republic for season 4,
internet rumors began to spread of a large-scale brawl at the bar of the Hard
Rock Resort in Punta Cana, which culminated in the detainment of cast
members by local police (‘EXCLUSIVE’). In a 42-page complaint filed after
their return to the U.S., a vacationing family alleged that upon confronting
the cast when one of their party was sprayed with champagne
members of the cast and crew [...], without provocation, brutally and
savagely beat, kicked, punched, scratched, jumped on and smashed glass
on the heads of [the claimants] causing them to sustain severe pain and
suffering and bodily injuries. (‘EXCLUSIVE’)
The filing against Bravo and production company Sirens Media also alleged
that they
encourage, promote and demand that the cast [...] engage in verbal and
physical conflict with one another and members of the public, creating
a culture, climate and/or atmosphere of confrontation, hostility and
violence in order to attract viewers. (‘EXCLUSIVE’)
Claimants’ passports were apparently withheld until they signed a release

of claims drafted by lawyers especially flown in by Sirens Media and Bravo
to the Dominican Republic. They allege that they were under ‘great duress,
coercion and physical and emotional stress’ and signed the release in order
that they might return home quickly and receive appropriate medical care
(‘Manzo’s take Punta Cana by Storm’). The case was subsequently settled out
of court for an undisclosed amount, and footage of the Punta Cana alterca-
tion was removed in its entirety from the show before broadcast. Tabloid
gossip here not only attempts to fill narrative voids and piece together
reality, broken by the docu-soap into pieces of an incomplete puzzle; it
exposes the presence of such voids altogether. Season 5’s finale, by contrast,
depicted a confrontation through momentary snippets of footage, in which
a fight at the opening of a hair salon is represented through reaction shots
of bystanders interspersed with fades to black (‘Salon, Farewell’). The law-
suit that occurred as a result of the violence consisted of criminal charges
filed by a peripheral cast member, John Karagiorgis, against cast members
Jacqueline Laurita, Chris Laurita and Joe Gorga for assault, harassment and/
or terroristic threats. In exchange for the dismissal of the criminal case in
September 2013, Karagiorgis was granted a waiver of the show’s contract
clause, which hitherto prevented him from filing against the network itself.
At the time of writing, it is understood that he plans to press civil charges
against all three cast members, Sirens Media, Bravo, NBC and security
teams for planning the altercation, manipulating individuals with a known
propensity for violence and not intervening after the fight had occurred. A
copy of the contract signed by the claimants in both lawsuits was leaked
to Radar Online in the same month, exposing through dense legal prose
the degree to which docu-soap narratives may be fictionalized. In signing,
subjects agree that:
I understand that […] my actions and the actions of others participating

in the Program may be embarrassing or of an otherwise unfavorable
nature that may be factual or fictional. […] I further understand that
108 Dan Udy
my appearance, depiction, and portrayal in and in connection with the

Program […] may portray me in a false light. (‘We Can Fictionalize The
Footage!’)
Digital copies can, of course, be immaterially and endlessly circulated,

reproduced and quoted as above. The ontology of the contract, however, is
material in its essence: it is a paper document validated through signature(s),
and digital copies are merely inadequate signifiers, unable to translate
the physicality of their real-life referent. This signified, then, is a symbolic
object, an icon for the Real of the Housewives that balances, or attempts to
balance, the conflicting realities of ‘docu’ and ‘soap’. As well as outlining
the control producers have over cast and their representations, it details
the manner in which individuals may become the subject of tabloid gossip
(‘defamatory’ or ‘embarrassing’ information may emerge ‘in connection
with the Program’). The waiving of its terms in a court of law demonstrates
the undoing of the docu-soap within a system predicated upon discern-
ing absolute truth, and whilst the Karagiorgis case presents implications
specifically for The Real Housewives, its resonation can be found in legal
troubles concerning other high-profile programs.
Concurrent lawsuits have led to similar self-exposures whilst under oath,
most notably in the case of Keeping Up With The Kardashians. In the March
2013 divorce trial between Kris Humphries and Kim Kardashian, the former
sought an annulment on the alleged grounds that he was duped into a mar-
riage conducted purely for television ratings, and after being subpoenaed to
appear in court, a producer on the show testified that specific scenes had
been ‘scripted, re-shot or edited’ to alter the appearance of their marital
breakdown (‘Producer Testifies Under Oath’). Court documents leaked in
March 2014 detail a subsequent lawsuit brought by Kardashian and her
then fiancé Kanye West against Chad Hurley, an uninvited guest at West’s
lavish proposal who released amateur footage of the event online before
its airing on the show. In her written statement, Kardashian’s mother and
manager Kris Jenner declared that she ‘played a major role in organizing
and running the event’, despite its portrayal on the show as solely arranged
by West (‘Monster-In-Law!’).
The case studies used in this essay form, I hope, a trajectory of the
docu-soap as shown through The Real Housewives, from the genre-defining
negotiation of truth to the ultimate conclusion of this process through
the legal system. One current case marks the most significant unravel-
ling of the franchise yet, not only implying a resolution of truth by virtue
of its legal nature, but involving charges that are themselves concerned
with the fraudulence of cast members’ affluent lifestyles. When The Real
Housewives of New Jersey stars Teresa and Joe Guidice were charged in July
2013 on a 39-count indictment of financial fraud, their legitimacy as cast
members—predicated upon displays of wealth and extravagance—was
quickly undermined. The pair were charged with conspiracy to commit
mail and wire fraud, bank fraud, lying on loan applications, bankruptcy
fraud and failure to file tax returns. After initially pleading not guilty, the
couple brokered a plea bargain in March 2014 admitting to a handful of
charges in exchange for reduced jail time, and at the time of writing are
currently awaiting sentencing.3 In an early stage of the proceedings, Bravo
were subpoenaed to submit hundreds of hours of unedited footage, and it is
through using the show itself as evidence in determining authenticity—or a
lack thereof—that the metaphysical negotiation embarked upon by cast and
audience is now transferred into the courts. The catastrophic impact of the
Guidice case upon The Real Housewives is manifest in subtle but significant
changes, and that such transformations work along and through the limita-
tions of genre is evidence of the docu-soap’s gradual disintegration. In the
final episode of The Real Housewives of New Jersey season 5, the cut to a
montage of news coverage of the Giudice trial—covering events between
the end of shooting and the upcoming reunion—indicates a process of
breakdown, in which generic integrity is broken though appropriation of
alien media forms. 4 Subsequently, a disruption of layered temporalities
occurred in The Real Housewives of Beverly Hills season 4, itself a season
revolving primarily around the drama caused by tabloid ‘lies’. At the end of
the final episode, a brief preview of the reunion show revealed the artifice of
this most ‘authentic’ element of the franchise, where backstage and behind-
the-scenes footage documented the women arriving at a studio lot, sitting in
hair and make-up and preparing for the upcoming conflicts during taping
(‘Reunion: Part One’). This breaking open of the Housewives structure moves
another degree closer to the documentary real, but in doing so continues
to lay bare its meticulous construction. It reveals the uneasy co-existence
of documentary and soap, in which the fashioning of entertainment from
the ‘authentic’ proves to be an endless cycle of self-sabotage. Where, then,
does the trajectory of this phenomenon point? Such outcomes can only
be hypothesized, and we must look towards our TV screens to watch the
answers unfold. What is apparent, though, is that we may just be witnessing
the death of an (un)popular genre.
110 Dan Udy
Notes
1. Some clarification might be necessary to avoid confusion: when referenc-

ing ‘Reality’ or the ‘Real’, I do not intend to invoke any Lacanian terms. I use
a capitalization to distinguish between mediated reality and actual lived
experience.
2. With the exception of occasional developments such as alcoholism, death
and divorce, which are evidently not influenced by producers.
3. As of 2 October 2014 Teresa and Joe Giudice received prison sentences of 15
months and 41 months respectively.
4. This process of breakdown later accelerated through the course of season
6, in which the Giudice’s legal troubles formed a substantial element of the
core documentary footage. Cast members are shown watching television
coverage of the couple’s court appearances, and interspersed sections of
news footage were accompanied with dates.
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Karaoke Americanism Gangnam Style
K-pop, Wonder Girls, and the Asian Unpopular
Jeroen de Kloet and Jaap Kooijman
The year: Unknown. The project W.G. is deemed a success as human genetics are
combined with robotic enhancements. Yubin. Yennie. Sohee. Lim. Sum. Bionic
women given the title of Wonder Girls. They are perfectly designed for complete
domination. The future is now.
— Wonder Girls featuring Akon, ‘Like Money’ (2012)
Motown meets K-pop. A promotional photograph of the 2012 TNT Christmas

in Washington television special features the show’s two headliners Diana
Ross and PSY, both dressed in campy sequined outfits and smiling broadly
into the camera. The two stars performed in front of America’s First Family,
Barack and Michelle Obama with their two daughters, the latter two visibly
most enjoying PSY’s performance of ‘Christmas Gangnam Style’. As lead
singer of the Supremes in the 1960s and solo superstar in the 1970s and early
1980s, Diana Ross signifies the traditional dominance of America in global
pop culture, currently most explicitly embodied by her ‘successor’ Beyoncé
(cf. Cashmore); PSY, in contrast, articulates the appropriation of American
pop culture, simultaneously reinforcing and challenging America’s he-
gemonic presence, albeit for a short moment. That PSY is a one-hit wonder
novelty act is significant, as it highlights the difficulty for non-Western pop
acts to get accepted as ‘real’ pop music in the Western world.
In global commercial pop culture, Anglo-American pop continues to
be perceived as ‘the original’ to be emulated, a perspective that is rein-
forced by popular global television formats such as Idol, X-Factor, and
The Voice. Even though these formats originated outside of the US, they
tend to present Anglo-American pop music as the standard to which non-
Anglo-American pop music is compared (cf. Bochanty-Aguero; Kooijman).
When non-Western pop acts aim to achieve worldwide stardom, they face
the challenge of overcoming the comparison to their Anglo-American
counterparts, particularly from a Western perspective. For example, in
their discussions of the attempt of South Korean pop star Rain (Bi) and
his producer Jin-Young Park (Pak Chin-Jŏng, also known as JYP) to become
popular in the United States, both Hyunjoon Shin and Eun-Young Jung cite
114 Jeroen de Kloe t and Ja ap Kooijman
the negative review of Rain’s sold-out Madison Square Garden concerts in

The New York Times of 4 February 2006. In the review, Jon Pareles dismisses
Rain as ‘sound[ing] like a nostalgia act’ by emphasizing his ‘unoriginality’
in comparison to Anglo-American stars such as Michael Jackson, Justin
Timberlake, George Michael, and Usher. Watching Rain perform is ‘like
watching old MTV videos dubbed into Korean’, Pareles argues, concluding
that ‘by the time [Rain’s producer] Mr. Park has figured out how to imitate
the latest English-speaking hit, American pop will have jumped ahead of
him’. What stands out in this (rather condescending) review is the notion
that K-pop not only deliberately imitates the Anglo-American original but
also is lagging behind. Tellingly, the review’s title—‘Korean Superstar Who
Smiles and Says, “I’m Lonely”’—does not even identify Rain by name. In The
New Yorker, John Seabrook uses the same argument of K-pop as imitative
and lagging behind, arguing that K-pop acts like SHINee, f(x), TVXQ!, and
Girls’ Generation remind him of the 1980s music videos by Madonna, the
1980s New Jack Swing sound of Janet Jackson, and the girl group sound of
the 1960s.
While these two white male American music critics explain the un-
popularity of K-pop by arguing that K-pop is imitative and lagging behind,
Youna Kim explains K-pop’s (cult) popularity among European audiences
by suggesting that Western fans perceive K-pop as ‘a futuristic pastiche that
sounds like a utopian blending of all contemporary musical genres’ (17).
Whether considered unpopular or popular, ‘lagging behind’ or ‘futuristic’,
K-pop does not differ from Anglo-American pop in its continual referencing
and recycling of earlier pop styles, a practice that Simon Reynolds has
called ‘retromania’. The only difference thus seems to be that Western
music critics consider such a practice as ‘lagging behind’ when the referenc-
ing is done by a non-Anglo-American or non-Western pop act. Although
K-pop is an exceptionally popular phenomenon, arguably the most popular
part of the Korean Wave (cf. Choi and Maliangkay), the limited appeal of
specific K-pop acts for Western audiences, and what we expect to be the
one-hit global appeal of PSY, point at the unpopularity of pop-cultural
forms from outside the West. Particularly those forms—sounds and im-
ages—that cannot be categorized as ‘exotic’ or ‘world music’ tend to be
dismissed by Western critics as imitative and lagging behind to explain
their unpopularity.
In this chapter, we will first analyze why K-pop remains globally unpopu-
lar and explain why we consider the notion of karaoke Americanism produc-
tive to help understand global cultural flows and disjunctures. We will
then examine Wonder Girls—a pop act that is, like Rain, ‘manufactured’ by
K ar aoke Americanism Gangnam St yle 115
producer Jin-Young Park—as a form of karaoke Americanism, which helps to

explain their local and regional popularity. While Wonder Girls, like many
K-pop acts, have been very popular in South-Korea, China, and Japan, the
group, similar to Rain, had only little success in the United States, Australia,
and New Zealand. The regional appropriation of Wonder Girls, for example
by Wonder Gay in Thailand, attests to the political potential of karaoke
Americanism. Yet, our final example of the song ‘Like Money’ by Wonder
Girls—with which we opened this chapter—illustrates the continuous
power of the United States when it comes to the production of popular
culture, rendering forms that are produced outside the West as perpetually
unpopular. In the final part, we pan away from such a gloomy conclusion by
hinting at recent developments in terms of geopolitics, fragmentation, and
the digitization of culture that may help to change this global geo-cultural
predicament.
K-pop as Karaoke Americanism
Since the late 1990s, the South Korean state has strongly supported its
creative industries, resulting in what has been termed ‘the Korean Wave’
(Hallyu). Initially propelled by popular television drama, the Korean Wave
soon included pop music, so-called K-pop (cf. Chua and Iwabuchi; Kim).
The Korean Wave challenged the hegemony of Japanese pop culture in
the region and constituted an important cultural force, termed soft power
by Nye that lasts till today (cf. Nye and Kim). In this way, popular culture
rather than neo-Confucianism connects cultures in East and South-East
Asia (cf, Chua), of which the Korean Wave serves as a prime example. The
dialectics between cultural proximity (a shared sense of ‘Asianness’) and
cultural difference—as reflected, for example, in the different seasons
(which, for example, do not exist in Singapore) or the Korean language—
help to explain the regional appeal of Korean pop culture. Yet, apart from
cultural factors, governmental and corporate support remains crucial
to the success of the Korean Wave. As Doobo Shim has pointed out, the
state’s creative policies were initially developed to protect the cultural
industries against ‘threats of foreign cultural domination’ (30). In terms
of political economy, a localist and protective rationale underpinned the
Korean Wave. That this would lead to regional success beyond national
borders was unintended and took the Korean government by surprise.
As Shim argues, ‘the vitality of East Asian popular culture is growing’,
with Japan, Thailand, and South Korea inspiring each other instead
of ‘refer[ing] to the West for melodramatic imagination as well as for

modernization’ (31).
For many K-pop acts, however, Anglo-American pop culture contin-
ues to function as one of its main inspirations. Moreover, although Asia
remains the prime market for K-pop, becoming popular among Western
audiences and conquering the Western market is an aim—and more
and more a possibility—for many K-pop acts (cf. Glynn and Kim 2). As
Eun-Young Jung has pointed out, ‘this drive for “commercial success” in
the West, and particularly in the US, is driven not purely by f inancial
aspirations, but by the postcolonial desire for recognition and acceptance
by the nation at the absolute peak among world entertainment economies’
(109). In other words, as Anglo-American pop culture continues to be
perceived as ‘the original’, being popular in the West not only facilitates
economic success but additionally signifies the validation that K-pop is
‘real’ pop music.
The global success of PSY clearly outperformed all previous Korean pop
acts, including Rain, G-Dragon, and Wonder Girls. His celebrity status
owes a great deal to the ‘riding an invisible horse’ dance style that was
performed in the humorous video for the song. One may wonder whether
the humor of PSY is inclusive (laughing with him) or exclusive (laughing
at him), although many scholars have argued for the latter, observing in
the music video and his image a gesturing towards orientalist stereotypes
of Asian men as being funny, unattractive, and nerdy (cf. Glynn and Kim
3). Such critique underlines our point that cultural counterflows remain
enmeshed in global cultural hierarchies. In their conclusion, Glynn and
Kim observe that, within Britain, PSY ‘failed as an entrée to Korean culture
because it was quarantined as a meme and/or a novelty record’ (13). Fur-
thermore, the song’s initial criticism of the Gangnam lifestyle (Gangnam
is a posh neighborhood in Seoul) got completely lost in translation, and
instead was repackaged as a mere profitable celebration of the Gangnam
lifestyle.
Hyunjoon Shih’s analysis of the globalizing aspiration of K-pop, in his
analysis of Rain, helps to further question the global appeal of K-pop. In
his article, Shih wonders: ‘What happens, and what will happen, when
popular culture from the non-center (periphery) tries to intrude into the
“center”?’ (508) He analyzes the Korean in-house system in which produc-
tion, management, and all other functions for the making of a star are
being integrated. Shih explains how, after the crisis of the record industry,
Rain is typical of a new star persona, one that is not only a teenage idol and
marketing artifact, ‘the new type of star had to be seen as more “real” or
“authentic” in his or her own way’ (511-12). One important site for Rain to
construct his authenticity was his muscular body, reflective also of hard
work, an important value in Asian pop culture (cf. Chow and de Kloet), in
combination with his angelic face, a combination that has been hailed as
a new Asian masculinity (cf. Sun).
This development of an Asian masculinity, one that is far more sexy than
that of PSY, underlines the importance of sex and gender in the making
of a star. Given a generally more prudent attitude towards sexuality in
Asia, this makes Shih observe that for K-pop stars, ‘their images were more
“American (Western)” and less “Asian (Korean)”’, to such an extent that
‘the border-crossing appeal of Rain at the regional level came from his
“Asian” element, which is at best secondary’ (Shih 514). When going global,
however, the importance of Asianness returned with a vengeance. In the
West, Rain will be perceived an artist with an Asian background, to be
measured against the hegemonic standards of global (read Western) pop:
‘Asianness will only work if the artist does not care that his or her music
is to be pigeonholed as only “world music” searching for a niche market.
But that is another story, which is different from the world of pop music’
(Shih 516). Here, we would like to add that, indeed, Rain will be measured
against the standards of global pop, but this measurement is bound to be
filled with prejudice as artists from the non-West are de facto perceived
to lag behind. As Jeroen de Kloet explains elsewhere: ‘Creativities that
emerge outside the “West”, constantly carry the burden of geopolitical
representation as authenticating proof. Whereas “the West” can claim to
make universal rock music, in China, this has to be Chinese rock music. Idem
ditto for contemporary art, literature or cinema’ (7). The same argument
can be made about K-pop.
The erasure of Koreanness in K-pop acts like Rain and Wonder Girls can
be seen as clear examples of ‘odorless culture’, using the concept by Koichi
Iwabuchi. Their alleged lack of cultural characteristics aims to facilitate a
smooth travel across national and cultural boundaries. In a similar vein,
Kim argues that K-pop travels well globally, ‘precisely because there is
not very much Korean in K-pop that it can become such an easy sell to
consumers abroad’ (17). However, the lack of Koreanness in K-pop may
also feed the Western perspective of K-pop as a blank imitation, lagging
behind and lacking any local, exotic flavor. K-pop will, especially at a global
level, continue to be haunted by Koreanness, a haunting that is inevitable
given the bodily appearance of the performers. The odorless products
Iwabuchi referred to are all products that do not involve ‘real’ people:
they are consumer technologies, computer/video games, and comics and
cartoons—all animate objects that are more easily to be stripped off their
Japaneseness than more ‘organic’ forms of popular culture. In the case
of K‑pop, the emphasis on the way K-pop stars are manufactured, thus
artificial constructions, helps to perceive them as ‘odorless’ and ‘inau-
thentic’, while at the same time rendering the Anglo-American ‘original’
as ‘authentic’.
As Shih explains in his analysis of the regional and (mostly failed) global
stardom of Rain, K-pop is just one new component of an already existing
Inter-Asia crisscross flow of pop culture. Chua Beng Huat analyzed this
emerging East and South East Asian cultural sphere and the related distribu-
tion of labor that turns some sites (e.g. Japan, South Korea and Taiwan)
into cultural producer and others (e.g. China and Singapore) into cultural
consumers. ‘The group of Korean cultural industries as its agencies, is just
a new player in this complex and multi-directional traffic’ (Shih 507). Can
the perpetually unpopular—Asian pop music is notoriously absent at a
global level, with only a few exceptions that are often instrumental (such
as ELO) or merely comical (such as PSY)—enter the domain of the popular?
As we have argued above, the chances are small, as the denial of coevalness
continues to haunt possible counterflows of cultural globalization. Non-
popular, non-Western pop products are generally perceived as mere copies,
based on originals that are already outdated. Only the sounds, images,
and styles that are geographically marked, and thus come to represent the
specific sound of a region, may cross the heavily policed boundaries of
Anglo-American pop culture.
To avoid perceiving K-pop—and Wonder Girls in particular—as
merely imitations of an Anglo-American original, we will use the concept
of karaoke Americanism—a term we borrow from film scholar Thomas
Elsaesser, who defines it as ‘that doubly coded space of identity as overlap
and deferral, as compliment and camouflage’ (317). Karaoke, not as actual
practice but as theoretical concept, is quite productive for two reasons:
first, karaoke is an active form of cultural appropriation, which enables
to move beyond the question whether or not the imitation is a successful
imitation of the original (as white male American music critics Jon Pareles
and John Seabrook assessed K-pop), as the focus shifts to how the copy
transforms the original in the new context; second, karaoke openly and
consciously uses the generic character of the original, thereby recognizing
rather than mystifying its construction. It is important to note that our aim
is not to ‘prove’ whether or not a pop-cultural object is a form of karaoke
Americanism, but rather to make the cultural appropriation visible by
perceiving the object as such (cf. Kooijman).
MTV Wonder Girls
The girl group Wonder Girls was launched in 2007 with the South Korean
reality television show MTV Wonder Girls, broadcast by MTV Korea, part of
the international yet US-based media conglomerate Viacom. Throughout
its four seasons, the show provided viewers with a backstage glimpse of
how pop stars are created, thereby not only following the group members
on their journey to stardom, but also functioning as a tool to promote the
group to its local and regional audience. In this way, the show both reveals
and is part of the construction of stardom. From the start, Wonder Girls
have been explicitly shaped by American pop culture. MTV Wonder Girls
is a Korean adaptation of the American MTV show Making The Band, and,
throughout the show, Wonder Girls perform songs by American artists,
such as Janet Jackson and the American girl groups Destiny’s Child and
the Pussycat Dolls. In the show’s third season, Wonder Girls travel to New
York City to film the music video to their song ‘Wishing On A Star’, thereby
literally occupying the space of ‘real’ Anglo-American pop stardom. Also
the group name is an explicit reference to American pop culture, referring
to Dreamgirls, the 2006 movie starring Beyoncé, which in turn is based
on the 1981 Broadway that presented a fictional account of the 1960s girl
group Diana Ross and the Supremes. The connection is made explicit by
the Wonder Girls, as the song ‘We Are The Dreamgirls’ from the musical
is often included in their live performances. Moreover, the music video of
their biggest hit single ‘Nobody’ also refers to Dreamgirls.
‘Nobody’ is a ‘typical idol K-pop, bubblegum pop song’ (Jung 110), which
was released first in Korea in 2008 and became a major hit in South-East
Asia. In addition to the version sung in South Korean, ‘Nobody’ was also
released in American English (2009), Chinese (2010), and Japanese (2012).
In each version, the choruses are sung in English, with the verses in the
respective language. The Dreamgirls-inspired music video was used for
the first three versions (resulting in some lip-synching inconsistencies),
while a new music video was shot for the Japanese version. In Dancing in
the Distraction Factory, Andrew Goodwin makes a distinction between the
visual narrative—the fictional short story told by the music video—and the
metanarrative of stardom of its performer. He uses Madonna’s ‘Material Girl’
as an example of a music video in which the performer’s star text is most
significant, as the main narrative function of the music video was ‘shifting
Madonna’s image from that of disco-bimbo to “authentic” star’ (100). The
music video of ‘Nobody’ has a similar function, as the fictional story of their
discovery is used to present Wonder Girls as global ‘authentic’ pop stars to
both Asian and Western audiences. The ‘Nobody’ music video was used as a
main promotional tool to introduce the group in the America in 2009, when
Wonder Girls were the opening act on the US tour of the popular American
boy band the Jonas Brothers. Not surprisingly then, ‘Nobody’ became their
biggest hit single in the US.
After the non-diegetic text ‘JYP Entertainment: Leader in entertainment’,
the music video opens with a performance of ‘Honey’ by JYP (the artist name
of producer Jin-Young Park, who had a minor hit with the song in 1998) with
the five Wonder Girls in white dresses performing the backing vocals. The
setting is the 1960s and clearly inspired by Dreamgirls, with JYP in the role
of soul singer Jimmy Early (played by Eddie Murphy in the movie) and the
Wonder Girls as the Dreamettes. The performance by ‘Honey’ is followed by
a flash forward to rehearsal time, during which two producers approach JYP
with the sheet music of a ‘hot new song’ named ‘Nobody’, which JYP tries to
sing in a high-pitched voice, with Wonder Girls dancing in the background.
This backstory establishes JYP as the song’s lead vocalist, and Wonder Girls
as the backing vocals, while also illustrating the production of pop culture:
producers in black suits bring the music score to the vocalist, who becomes
more like a laborer, the one performing the song, without any involvement
in its creation. Moreover, the backstage rehearsal of the song implicates the
audience in the production of pop culture and helps to authenticate the
song. The leading role of the producers in the creation of the song is rendered
even more self-reflexive given that JYP is the ‘real’ manager of Wonder Girls.
The subsequent flash forward shows Wonder Girls on stage, dressed in gold,
ready to perform, intercut with images of JYP stuck in the toilet, as there
is no toilet paper left. While JYP fails to come to the stage, Wonder Girls
pick up their microphones and move them front stage to perform the song
instead. They become instant stars. Here the music video’s visual narrative
closely resembles the story of Dreamgirls, as similar to the Dreamettes who
become the Dreams when they move from the background to the front of
the stage, Wonder Girls become the main stars of the show.
In reinterpreting the discovery of the ‘Dreamgirls’, the music video evokes
the success myth of stardom, which, as Richard Dyer has argued, mystifies
the construction of the star image by emphasizing the accidental discovery
of the talented star—stars are born, not made (cf. Dyer 42). The conventional
narrative of the soda-fountain girl becoming the hottest Hollywood film
star, or, in this case, the background singers becoming stars because the
main act is stuck in the toilet, adds to the myth of stardom. The backstory
takes up the first two minutes of the music video, followed by another
two minutes of the 1960s Wonder Girls performing ‘Nobody’ on stage. The
performance is interrupted by a standing ovation of the diegetic audience,

leading into a montage sequence portraying the group’s rise to success,
still set in the fictional 1960s. Flashbulbs of paparazzi, black-and-white
television performances, and several magazine covers featuring Wonder
Girls, including the ‘Lilloard starlist’ (an obvious reference to Billboard
magazine and its Hot 100 chart) on which they rank number 1 emphasize
the fame of the group. However, the montage sequence also functions to
move Wonder Girls from the fictional 1960s to the actual present. As Wonder
Girls become more and more successful, ‘they wear skimpier and flashier
dresses’ (Jung 111), which not only makes them more ‘sexy’ but also more
contemporary. The final performance shown in the music video is set in
the present, emphasized by Wonder Girls rapping the lyrics.
Instead of just imitating Anglo-American pop culture, with the ‘Nobody’
music video, Wonder Girls mimic the story of Dreamgirls, and in extension
the traditional narrative of the success myth of a pop music meritocracy
that is rooted in the American Dream (cf. Dyer 42). In this way, the imitation
becomes explicit and deliberate, with a ‘light comical tone [that] fits well
with Wonder Girls’ bubblegum pop style and their playful girlish image’
(Jung 111). More importantly, the overt appropriation of conventional
Anglo-American stardom not only shows how stardom is a construction,
but also places the Anglo-American ‘original’ in the past, the fictional 1960s,
enabling Wonder Girls to emerge as a contemporary pop act, rather than an
imitation that is lagging behind. The 2012 Japanese version of the ‘Nobody’
music video takes the Wonder Girls metanarrative further by presenting
them as established superstars, no longer an imitation but a full-fledged
and contemporary—thus ‘real’—pop act.
Thai Wonder Gay
The processes of cultural appropriation, as we have discussed with Wonder

Girls, do not stop there but instead inspire subsequent rhizomic flows
towards other parts of Asia. In other words, what started as an example
of karaoke Americanism in South Korea is multiplying itself towards
other localities in east and South-East Asia. Rather than referring to this
as cases of karaoke Koreanism, a term we consider not appropriate given
the continuous strong presence of Americanness as well as the ‘odorless-
ness’ of the generic conventions appropriated in these products, it may
make more sense to see karaoke Americanism as a process that bleeds on,
that does not involve two localities, but instead many more, and in this
bleeding, new appropriations occur, producing new and different meanings.

These further appropriations instigate, as usual, debates over copyright, for
example, entertainers in China, Thailand and Cambodia are accused by the
management JYP Entertainment of ‘recklessly copying’ the Wonder Girls’
songs, dances, and even costumes. Still, more interesting than such debates
over rights are the actual cultural appropriations taking place. Here we like
to zoom in on one particular case, Wonder Gay in Thailand, for which we
draw from an analysis by Dredge Byung’chu Käng.
In a video that became an instant hit on YouTube, five boys mimic the
Wonder Girls’ ‘Nobody’ music video. Naming themselves Wonder Gay (a
name in itself already charged with sexual politics), they perform in green
school uniforms with black shorts, making gayish movements around a
flagpole. Both the school uniform and the flagpole are signifiers for the Thai
nation state, charging the music video with a strong political meaning. The
music video consequently caused heated debates in Thailand, questioning
whether or not Wonder Gay was ‘inappropriately representing Thai-ness’
as well as causing concern about the group’s popularity ‘encourage[ing]
other boys to become effeminate/homosexual like them’—a topic which is
particularly sensitive in Thailand considering the country’s global image of
being ‘too gay’. As Käng concludes, the debate about Wonder Gay ‘exempli-
fies the limited acceptability of male effeminacy in popular Thai discourse
and how Thai national identity is articulated through discourses of gender
and sexuality’ (178–79).
Even though the YouTube music video receives a good rating (and Wonder
Gay quickly gained popularity, even being contracted by a record label),
Käng shows how, in the end, the negative framing predominates. Wonder
Gay ‘become a source of national shame’ as they are perceived as reaffirm-
ing global stereotypes about Thailand as a gay country and lacking in true
masculinity, and as such ‘come to represent a nation that is already overly
queered, and one that can only mimic others without producing anything
original (Käng 181). The ‘Nobody’ music video thus not only became another
site for the policing of Thai masculinity but also triggered anxiety over
losing Thainess due to uncritical copying, echoing wider debates on the
loss of authenticity because of intensified cultural globalization.
Here, then, we see the politics of karaoke Americanism at work. In their
appropriation of the Wonder Girls’ ‘Nobody’ song and music video, Wonder
Gay present a slippage of meaning. The song remains the same, but not quite,
to paraphrase Homi Bhabha. In this slippage of meaning we can locate the
politics of the song: it queers a country, stirs up public debate, and challenges
both the heteronormative framing of the nation and its related claims on
Thainess. Karaoke is doing just that: it is copying with a twist, it allows for
slippages of meaning that hold the potential for a renewed politics, a politics
that was not that much at play in the original reception of the song. But, as
Käng observes, these politics in the end resulted in a growing critique on
the music video, suggesting that the securing of heteronormativity in the
end prevailed, as did the critique on imitation and copying. Yet, Wonder Gay
also speaks back to the ‘original’, re-infecting it with a sense of queerness as
well. After all, after seeing Wonder Gay, Wonder Girls are also queered. As
such, cultural karaoke inspires us to focus our attention not only on cultural
appropriations and slippages of meaning that take place in processes of
cultural globalization, but also vice versa, it may help us to rethink the
original itself.
Translate to English
In 2012, Wonder Girls released the music video ‘Like Money’, featuring the
African-American R&B singer Akon. The song was part of the television
movie The Wonder Girls, made for the US American TeenNick channel,
like MTV owned by Viacom. The movie, which also starred producer JYP
as ‘himself’, tells the story of how the ‘international pop sensation [Wonder
Girls] are coming to America to make it big’. The opening of the video is
telling for their global aspirations. A screen flickers, and in Korean 전송시작
( jeonsongsijag) appears, after which a robotic voice commands ‘Translate.
Translate to English’. Then, the translation appears on the screen: ‘Transmis-
sion Begin’. What this opening suggests is that in order to make it globally, a
translation into the lingua franca of global pop, English, is pivotal. As such,
the opening reads as a surrender to the hegemony of Anglo-American pop.
The robot as well as the technologized visuals gesture towards a techno-
orientalism, a conventional trope in which East Asia is constructed as the
technological other of the West (cf. Morley and Robins). The robot voice
continues by speaking the words with which we opened this chapter, ending
with: ‘[Wonder Girls] are perfectly designed. Perfectly designed for complete
domination. The future is now’.
Meanwhile, the music video shows x-rays of the spines of each of the
Wonder Girls, overseen by a Frankenstein doctor (played by producer
Jin-Young Park). When they are introduced one by one, they appear as
robot-like Korean girls, and are turned around as if they are transported
from or towards another dimension. Here, the laboratory that produces
pop stars is not even taken as a metaphor but presented as the real thing.
The manufacturing of the pop star aims at complete domination, the future
is now, and the future comes from Korea. Only not quite, as the texts are
spoken and sung in English, and the African-American singer Akon is
inserted as if to further Americanize the song. Who dominates who in this
music video, or better, in this manufactured commodity? The song’s title is
ambivalent: are Wonder Girls a purely commercial product, and thus like
money, or do they like money themselves? Again, like ‘Nobody’ the music
video is highly self-reflexive, literarily showing the production of stardom,
this time not by accidental discovery conform to the star myth, but by the
forces of genetic and robotic technology.
Wonder Girls may be designed for complete domination, but in the
end, they fail to dominate, again raising the question of who dominates
who. As Eun-Young Jung argues, ‘Wonder Girls’ “Like Money” is mostly an
American team production—reflecting the American racial and sexual
views on Asian women and the Korean (at least JYP’s) desire to be accepted
by the mainstream US pop market even if they have to greatly compromise
themselves to be racially, sexually, and musically acceptable’ (112). Moreover,
as we have argued in this chapter, despite their attempts to become ‘Ameri-
can’, to produce an odorless image and sound, Wonder Girls continue to be
haunted by Koreanness. The politics of karaoke Americanism may play out
more interestingly both nationally, in South Korea, and regionally, in East
and South-East Asia, as the case of Wonder Gay has illustrated, but when
it comes to the desire to enter the US-based center of global pop the cards
are quite differently played out. Then and there, Wonder Girls are bound to
be framed as lagging behind, as being pop, but not quite, as becomes clear
in some comments about ‘Like Money’ on YouTube:
Seriously, why?! take K-pop, add an American rapper and take away all
the Korean and there’s no way to differentiate it from all that Mainstream
shit that comes out nowadays. I don’t want this to he considered part of
the K-pop scene... I think it’s embarrassing...
I’m glad for their American debut though... at least they made it this far…
(AliceWWND)
Honestly, whoever chose the concept for this debut was insane; who
in their right mind would use robots and technology as a concept for a
music video in America, lol. Let alone the fact that the girls look so weird
with those hairstyles, outfits and make-up, Be My Baby would’ve been a
better debut to be honest. Besides, Akon sings/raps like 50% of the song,
so… (Jessicasadlibs) 1
The first quote puts the group back in their Korean cage, claiming that
Wonder Girls have lost it as they betray their cultural background, whereas
the second quote is illustrative of the assertion that they in any case lag
behind and need the input of an American star to make it work. And it
did not really work, in the end. Karaoke Americanism may thus help us
to understand and indeed appreciate the multiple cultural translations
and appropriations that are happening between Anglo-American pop
culture and its countless cultural ‘others’ around the globe. It sets in motion
subsequent cultural translations that hold the potential to ignite political
debate and controversy. But when it comes to speak back to that imagined
origin, the United States, we are confronted with mere silence, in the end,
global hegemonic fault lines in the production of culture remain in place,
positioning time and again the West as the best, only to be followed by
the rest.
Final Notes on the Asian Unpopular
At this moment, K-pop acts such as Wonder Girls find themselves positioned
in between the two poles embodied by Diana Ross and PSY, as presented at
the beginning of this chapter, as they are deemed to be either an outdated
copy of an American original (the girl group image represented by Ross and
Beyoncé) or an exotic, Korean novelty act. However, at the end of the day,
the new sounds of K-pop, these original copies, these absolute fabrications,
are not likely to become popular beyond their cultural comfort zone. While
Wonder Girls sing ‘I want nobody nobody but you’, we can imagine their
American counterparts singing back, ‘We want nobody nobody but us’. After
all, despite decades of intense globalization and significant geopolitical
shifts, we are bound to conclude that Anglo-American pop culture remains
hegemonic on the global scale. When taking the US as the yardstick of
success, the rest, and especially the non-West, remains unpopular, with the
exception of a few one hit wonders like PSY that make us dance Gangnam
Style.
But this might well be too gloomy a conclusion. We would like to close
this chapter with three brief observations that may open up avenues for
future research. First, as Jeroen de Kloet’s research into Chinese popular
culture suggests, a significant change has taken place over the past two
decades. Whereas Chinese rock bands during the 1990s were still very
much engaged with making rock with Chinese characteristics, involving
articulations of ancient as well as communist China, today it seems they
care much less. They sing in English, adopt a clearly cosmopolitan style, and
parody the predicament that they will always be seen as copycats. The ‘rise
of Asia’ comes with an increased dose of cultural self-confidence. Today,
Asian artists seem to care less about what others think of them, nor are they
so much concerned with making it in the West, or more precisely, in the
United States. Their primary market is the local and the regional market.
To reach that market, creative practices of karaoke Americanism, as we
have analyzed in this chapter, continue to be a productive aesthetics tactic.
Second, in a context of an increased fragmentation of cultural production
and consumption, numerous niche cultures proliferate globally, including,
for example, around Japanese anime culture, around the Japanese musical
genre of Visual Kei, around Chinese art house movies, and around K-pop.
These subcultures may not be massively popular, but they do result in
vibrant cultural practices, Facebook pages have emerged globally where
K-pop fans gather, just as German Visual Kei bands attract substantial
attention. Such subcultural, rather than mainstream popular, counterflows
may indicate a slow and gradual redrawing of cultural hegemonies, in which
the popular and the West do not conflate as strong anymore as they do now.
Third, Japanese hologram star Hatsune Miku has performed in Los Ange-
les as well as Amsterdam, aside from her fan base in East Asia. The star does
not exist; she is just a visual illusion projected on stage, together with a live
band. Through specific software applications, audiences have co-written
her songs that she now plays. The star as a personal being is not needed
any more; what matters is the audience that co-produces the star, together
with cloud technologies developed by the cultural industries. While we do
want to steer away from either a technological utopianism or determinism
here, what Hatsune Miku does tell us is how new technologies may open up
possibilities for a global participation in the making and branding of a star
and a star product. This alludes to the democratic potential Walter Benjamin
already traced in the mechanical reproduction of culture, a potential that
may well be globalized in the case of digital reproduction. Hatsune Miku
illustrates that audiences may in the near future play a more decisive role
in what constitutes the popular, and in this process, the location of the
audience, or that of the star, may become less important, thus also allowing
for a redrawing of global geocultural boundaries.
Note
1. All taken from https://www.youtube.com/watch?v=quE6Cq4Q2bs

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‘When order is lost, time spits’
The Abject Unpopular Art of Genesis (Breyer) P-Orridge
Florian Zappe
‘THIS VILE MAN CORRUPTS KIDS –

DEMI-GOD FEEDS POP FANS ON SEX, SADISM, AND DEVIL RITES’.
— Headline of The Sunday People, 24 July 19881
I want to start my exploration of the topography of one of many possible ter-

ritories of the ‘unpopular’ by looking at the identity politics of that particular
segment of popular culture we like to call ‘pop’. Of course, when engaging
in the discussion of ‘pop culture’, one has to be prepared to enter highly
contested territory. Like any significant concept in cultural theory, this
term also frames a discursive battlefield fraught with numerous aesthetic
and political implications, ambiguities, contradictions and a long history
of transformations and theoretical reflection.2
When I speak of pop in this essay, I am referring to that specific vanguard
offshoot of mass culture that emerged in the light of the generation conflicts
from the 1950s onward, which were, as we know, not merely an adolescent in-
surgency but the beginning of a veritable cultural revolution. Pop reconciled
the young postwar generation’s emerging impetus towards emancipation,
liberation, and social change with production apparatuses, distribution
channels, and representational modes that are usually associated with the
culture industry. According to Andreas Huyssen’s by now classic definition,
this understanding of pop
stood for beat and rock music, poster art, the flower child cult and the
drug scene—indeed for any manifestation of ‘subculture’ and ‘under-
ground’. In short, pop became the synonym for the new life style of the
younger generation, a life style which rebelled against authority and
sought liberation from the norms of existing society. (141)
Especially in its first, idealistic phase3 pop culture held the utopian promise
of constituting a counter-space to mainstream bourgeois culture. As the
130 Florian Zappe
analytical tradition of the Birmingham School (and its followers) has shown,
it could serve as a door-opener for alternative models of recognition, com-
munity, self-expression, meaning-production and, after all, identity. The
blueprint narrative of that identity discourse was (and to a large extent still
is) that of the rebel who resists institutionalized and structural authority
and frees himself from the constraints imposed on him by a society he feels
deeply alienated from. The archetypical subject of pop strives, as Patti Smith
programmatically shouted in her iconic 1978 song ‘Rock ‘N’ Roll Nigger’, for
an existence ‘outside of society’.
Since the mid-twentieth century, pop culture has provided an enduring
and ever-adjustable myth of liberation around this rebellious outsider and
sold it (in any sense of the word) to its audiences in various guises: the at-
tractive juvenile delinquent, the sophisticated beatnik, the hyper-masculine
biker, the hedonistic hippie drop-out, the cool mod, the libertine rock star,
the desirable pop starlet, the tough-minded gangster rapper—just to name
a few stereotypes.
Yet, this myth is problematic for a variety of reasons. As poststructural-
ism’s analysis of the power structures in Western societies has shown, its
reigning logic based on an ‘inside vs outside’ binarism cannot serve as a
successful strategy of resistance against what Gilles Deleuze described
as the all-embracing web of micro-power regimes that govern our late
capitalist ‘societies of control’. 4 From this perspective, any notion of an
authentic, uncorrupted ‘outside of society’—pop culture being, of course,
just one of many discourses claiming to be a manifestation of such a cultural
realm—appears to be just another normative discourse in disguise. All the
archetypical rebellious identity models mentioned above are themselves
ruled by their respective micro-regimes of normative control in regard to
behavior, body politics, and codes of signification. And even the grand nar-
rative of an essential counter-identity itself carries—in its negative fixation
to the (petty-)bourgeois mainstream it claims to reject—the inherent risk
of morphing into an oppressive ideological dualism.
In the light of this insight, one of the few remaining possibilities for
cultural opposition appears to be the striving for alternative concepts of
subjectivity and identity that have the potential to elude the incorporation
into the binary logic that equally governs our hegemonial culture as well
as our countercultures. These alternatives must avoid the pitfall of an all
too simple apotheosis of the clear-cut difference of ‘the Other’ but embrace
the complexity of hybridity, ambivalence and contradiction.
A variety of viable attempts have been made—both in cultural theory
and practice—to frame such a cultural territory. One is the category of the
‘abject’ that was defined by Julia Kristeva in her seminal essay Powers of
Horror as that which ‘disturbs identity, system, order. What does not respect
borders, positions, rules. The in-between, the ambiguous, the composite’ (4).
As this volume seeks to explore the ‘unpopular’ as the excluded middle
between the cultural realms of ‘high’ and ‘popular’ I will propose a defini-
tion of this middle as the abject space of popular culture. Its inhabitants
employ the classic mechanisms and media channels of popular culture:
they write books, produce films, form bands, release records or play live
concerts. However, with regard to their identity politics and aesthetics
they actively try to elude the traditional forms of incorporation (such as
canonization, commodification, etc.) by employing abjection as a strategy to
provide their audiences with aesthetic experiences that cause a radical and
enduring disturbance of established cultural—also subcultural—concepts
of meaning and identity.
According to Kristeva’s initial psychoanalytical definition, the term
‘abjection’ refers to a feeling of repulsion or nausea that emerges in the face
of decay, filth, body excretions, torn tissue, sickness, effects of violence, the
grotesque, the monstrous, the ugly, etc.—without a doubt highly unpopular
themes that are usually kept outside of everyday experience, concealed un-
der the blanket of societal norms, confined to the realm of the unspeakable.
But if this blanket is lifted and the individual is confronted with these taboo
aspects of life, the experience of the abject, of that what is ‘neither subject
nor object’ (Kristeva 1), has the power to disarrange the clear structures
that define the cultural framework of meaning that we live in.
Megan Becker-Leckrone notes that ‘[a]bjection is, for Kristeva, an ex-
perience of unmatched primordial horror, putting the subject in the most
devastating kind of crisis imaginable; but ultimately, certain modes of
discourse have found a way of speaking that horror instead of repressing
it’ (20). ‘Abject unpopular culture’, as I define it, can be understood as that
particular ‘mode of discourse’ that uses the expressive forms of pop(ular)
culture to articulate this staggering abhorrence of unpopular things and the
existential shock experience provoked by them. By undermining binarisms
such as self/other, inside/outside or the fundamental distinction of subject
and object that forms the basis of every process of subject formation, the
abject has the capability to cause a mind altering experience that upsets the
notions of subjectivity and individual identity that are constructed within
established bourgeois as well as popular culture.
Pop culture’s Promethean rebellious archetypes embody the utopia of an
authentic counter-subjectivity in a space of freedom that is often defined
as the antithesis of one of mainstream culture’s most powerful ideological
132 Florian Zappe
tools to police deviance—morality. Yet, as Kristeva argues, the simple nega-

tion of the hegemonial moral order does not inevitably entail the subversive
potential associated with the category of abjection:
He who denies morality is not abject; there can be grandeur in amorality

and even in crime that flaunts its disrespect for the law—rebellious,
liberating and suicidal crime. Abjection, on the other hand, is immoral,
sinister, scheming, and shady: a terror that dissembles, a hatred that
smiles, a passion that uses the body for barter instead of inflaming it, a
debtor who sells you up, a friend who stabs you. (Kristeva 4)
‘Abject unpopular culture’ therefore operates in the shadow cast by the

amoral grandeur of pop cultural rebellion and does not advocate the all too
simple transgression towards ‘the other side’ but a dwelling on the threshold
of the unsettling and intangible qualities of the ‘abject’. It is decidedly not
to be understood as a rigid generic concept, but it might be a useful term
to describe a variety of certain artistic expressions on the radical fringes
of popular culture, reaching from the writings of Kathy Acker or Dennis
Cooper to the films of John Waters (at least up to Polyester), Jörg Buttgereit
or Bruce LaBruce.
II
One of the most instructive and idiosyncratic examples to reflect on this

peculiar notion of ‘unpopular culture’ is provided by the English-born and
New York-based musician, writer and performance artist Genesis (Breyer)
P-Orridge.5 He is particular interesting because his use of abjection as an
aesthetic principle on all levels of his work and life—the symbolic, the
performative, the musical and the corporeal—locates him, as I will argue in
the pages to follow, not only in the excluded middle between the two poles
of bourgeois ‘high’ and popular ‘low’ but in the intangible center of a triangle
consisting of ‘high’, ‘low’, and what I have sketched above as ‘pop’ culture.
Born in 1950, (Breyer) P-Orridge is himself a child of the pop age. He played
drums in several amateur psychedelic rock bands as a teenager (cf. Reed
74) and even recorded (but not distributed) one album with a band called
‘Worm’ (cf. Ford 1.6) before—at least for some time—choosing a different
path of artistic practice. Inspired by an eclectic conglomerate of intellectual
influences, ranging from the theories of John Cage, the occult spirituality of
Aleister Crowley to William S. Burroughs’s ideas of deconditioning through
cut-up and tape experiments, he immersed himself in the avant-garde art

scenes of Hull (where he had a short career as a university student) and
London and explored a wide variety of artistic strategies.
The roots of his engagement with the abject can be traced back to his
involvement in the Fluxus-inspired mail art movement in the late 1960s and
early 1970s. In what P-Orridge retrospectively (and quite self-explanatory)
called his ‘maggots-and-meat-through-the-mail phase’, he used the dis-
ruptive powers of the abject to confront this specific artistic scene with
its pseudo-radical self-image: ‘I wanted to have something in there that
everyone would go, “Yecchh!” Because for all their so-called radicalism,
they were incredibly conservative and very moral’ (qtd. in Vale and Juno 14).
This was, however, just the moderate beginning of P-Orridge’s career as
an extremist of abject aesthetics. He put hegemonial boundaries of good
taste to even more uncompromising tests after he became involved in the
radical performance art scene that started to burgeon internationally in
the late 1960s. In 1969, he joined with fellow artist, occasional stripper and
porn model Cosey Fanni Tutti (Christine Newby) and a number of changing
collaborators to found the performance art collective COUM Transmissions,
whose performances quickly became notorious for their taboo-breaking
extremism. After the group had quickly achieved an infamous reputa-
tion within the art circle, it was an exhibition called ‘Prostitution’, held
at the Institute for Contemporary Arts (ICA) in London in 1976, that gained
them wider public notoriety. The show ‘caused a scandal chiefly because
it featured used tampons and contained pages from pornographic maga-
zines featuring Tutti in her role as a photographic model’, and in the end
it ‘provided evidence of the lack of understanding between contemporary
artists and the general public, or at least the self-selected representatives
of that public—the newspapers’ (Ford 6.19). Indeed, the British tabloid
press scandalized the event and triggered a fierce debate about the public
funding system for art in the United Kingdom. As a side effect, the ‘Pros-
titution’ exhibition revealed a dialectical link between the abject and the
unpopular in the cultural phenomenon we like to call ‘scandal’: although
its content had no realistic possibility of finding consensus and recognition
within the mainstream (or, to put it in other words, to become popular), it
gained the group an unprecedented amount of unpopularity, culminating
in parliamentarian Nicholas Fairbairn’s much-quoted statement that the
members of COUM Transmissions were the ‘wreckers of civilisation’ (qtd.
in Ford 6.22).
While the general public’s rejection of the collective’s aesthetics was
as expectable as calculated, it is a highly staggering phenomenon that
134 Florian Zappe
COUM Transmissions also managed to disturb the segment of the art world
that—by self-definition—considered itself as the most radical rim of the
avant-garde of that time. The group’s efficacy in this regard can be traced
back to the extreme modalities in which their performances emphasized
the materiality of the body. The concept of the abject is undeniably and by
nature always closely tied to the corporeal. In the context of the discussion
of the collective’s politics of abjection, however, Hanjo Berressem’s distinc-
tion between the terms ‘abjection’6 to describe ‘the production of disgust
from “abjection”, the cultural marking of eventsǀobjects as disgusting’ and
‘abjects’ as a term ‘to highlight the materiality of what is normally called
“the abject”’ (19) can provide valuable insights.
Whereas many so-called ‘abject’ artists evoke the feeling of abjection
on the symbolic or metaphorical level, COUM Transmissions played on
both fields by dealing with ‘abject’ themes on the level of representation
(e.g. by employing sexually explicit imagery with the capability to evoke
abjection) but also by staging ‘abjects’, which are, according to Berressem,
always ‘extremely, one might even say excessively, material’ (21) and defined
by certain characteristic attributes:
Abjects tend to centre around bodily openings through which exchanges

with the environment are materially regulated and channelled. Abjects
are created when these exchanges get out of bounds: for instance, when
they become uneconomic|excessive, as when one confronts unstoppable
flows and fluxes such as diarrhea or haemorrhaging, or when they are
reversed—for example in the case of vomiting or refuelling ‘waste’ into
the system through an opening that is normally used to fuel the system
with nourishment[.] (42–43)
The following description of a COUM Transmissions performance in Los

Angeles in 1976, given by P-Orridge himself, illustrates how the group’s
performative aesthetics centered around that particular moment of creating
abjects. In order to fully comprehend the radicalness and relentlessness of
their approach as well as the utter repulsion the collective was able to evoke
even in audiences that were familiar with what at that time was considered
as ‘transgressive art’, it is necessary to quote at some length:
I used to do things like stick severed chickens’ heads over my penis, and
then try and masturbate them, whilst pouring maggots all over it. […]
I drank a bottle of whisky and stood on a lot of tacks. And then I gave
myself enemas with blood, milk and urine, and then broke wind so a jet
of blood, milk and urine combined shot across the floor in front of Chris
Burden and assorted visual artists. I then licked it off the floor, which was
a not-clean concrete floor. Then I got a 10-inch nail and tried to swallow
it, which made me vomit. Then I licked the vomit off the floor and Cosey
helped me lick the vomit off the floor. And she was naked and trying to
sever her vagina to her navel with a razor blade, and she injected blood
into her vagina which then trickled out, and we then sucked the blood
from her vagina into a syringe and injected it into eggs painted black,
which we then tried to eat. […] Chris Burden, who’s known for being
outrageous, walked out with his girlfriend, saying, ‘This is not art, this is
the most disgusting thing I’ve ever seen, and these people are sick’. (qtd.
in Vale and Juno 17)
What Burden (who, as a key figure of the Body Art movement, was himself
no stranger to abject performances) and the other audience members expe-
rienced in this performance is what Berressem called ‘a moment of abject
verité’ that is defined by the fact that it ‘pushes abjection beyond the level
of the representational logic’ and refers it ‘back to the level of pure physics’
where it cannot be read as ‘either fictional or as a special eǀaffect’ (20).
In the light of the Foucauldian insight that identity is a power effect
inscribed in and on the body, this radical exploration of physical boundaries
in its auratic materiality inevitably raises the general question of the perme-
ability of identity constructs. The complete collapse of the inside/outside
logic of the culturally coded system of normalized corporeality retroacts
with the subjectivity of both the performer and the viewer, because, as Ber-
ressem aptly puts it, ‘abjects are related to material operations that threaten
the material as well as the psychic organisation of a human system’ (42).
III
In 1975, P-Orridge and Tutti started to expand their aesthetic vocabulary

by ‘improvising informally with traditional rock instruments, electronic
gear, and tape, recording long jams of mostly beatless sounds and wordless
textures’ (Reed 72). This experimentation with sound and music fragments
ultimately led to the formation of the band project Throbbing Gristle,7 which
was to become the formative group of the Industrial genre that started to
develop from the mid-1970s onwards—a genre that, according to P-Orridge,
aimed at the disruption of pop culture’s rebel mythology of the ‘romance
136 Florian Zappe
of “paying your dues, man”; of being “on the road”—rock ‘n’ roll as a career
being worthwhile in itself, and all that shit’ (qtd. in Vale and Juno 10).
As P-Orridge himself has pointed out, founding a band was intended to
be a deliberate move away from the self-centered art world into the sphere
of the popular:
When we shifted from Coum Transmissions to TG, we were also stating

that we wanted to go into popular culture, away from the art gallery
context, and show that the same techniques that had been made to oper-
ate in that system could work. We wanted to test it out in the real world,
or nearer to the real world, at a more street level—with young kids who
had no education in art reception, who came along and either empathized
or didn’t; either liked the noise or didn’t. (qtd. in Vale and Juno 15–16)
This digression from an elitist ‘high-brow’ cultural scene that had been
growingly infested by the hype about radical performance art such as
Fluxus, the Viennese actionists or the Body Art movement was an intended
democratization, an attempt to overcome bigger audiences’ inhibitions in
terms of intellectual accessibility and reception context.
It is no coincidence that new phenomena like Industrial or Punk emerged
at a time when the vanguard momentum of pop culture showed signs of
serious exhaustion: ‘As a mass-marketed form of rebellious individualism,
rock and roll culture has always peddled the “won’t be fooled again” consola-
tion prize to its consumers, but by the late seventies, the self-reflexive folds
within its inner logic traded the oppositional ambitions (the “counter” in
“counterculture”) for a comfy brand of elitist quietism’ (Daniel 87).
Throbbing Gristle’s injection of those abject themes and aesthetics—
which have proved to work in the art context—into the system of pop
aimed at revitalizing its worn-out vanguard impulse by willfully shocking
its audiences out of their comfort zones. Simultaneously, their persistent
implementation of abject strategies and the fact that ‘they always remained
a far more conceptual entity than the overwhelming majority of popular
music acts’ (Kromhout 26) rendered Throbbing Gristle a more ‘unpopular’
than ‘popular’ pop band, as the group’s biographer Simon Ford noted:
TG thus reversed an established avant-gardist paradigm. Rather than

translate popular cultural forms into high art, as Warhol and the pop
artists had done, TG transformed high art into popular culture. Rather
than tone down and aestheticise the more intense and ugly aspects of
avant-garde art, TG chose the most debased subject matter and abstract
forms to present to a mass public. This lack of a concession to mass taste

ensured that TG’s music was never appreciated by a mass audience. TG
operated necessarily on the fringes of the music industry and this meant
never achieving, or seeking, mass appeal and mainstream popular suc-
cess on the scale of, say, the Human League or OMD. (Ford 5.18)
Indeed, Throbbing Gristle’s musical aesthetics and performance styles

represented the greatest imaginable revocation of the time-honored ‘social
contract’ defining the artist-audience relationship in conventional popular
culture. As Diederichsen tellingly notes, especially the first two albums—
The Second Annual Report (1977) and D. o. A.: The Third and Final Report of
Throbbing Gristle (1978)—‘dealt with issues of control, submission, extreme
pain, and even torture in a manner that was fascinating and definitely broke
the taboos of the time but that no one would ever have thought to describe
as “entertainment” (Diederichsen, ‘Entertainment’ 26). And even the slightly
more accessible 20 Jazz Funk Greats (1979), which is ‘widely misunderstood
as their “pop album”, [is] too perverted, willful and crude to effortlessly pass
as “real music”’ (Daniel 3).
The band’s ‘unpopularity’ resulted from the eclectic crossover of classic
avant-garde techniques (shock politics, the disruption of the organic work
of art, etc.), sound and noise experiments, post-Situationist détournements
of pop iconography, controversial subject matter (violence, pornography,
occultism, ‘the ugly’, etc.) and the confusion of gender stereotypes. Again,
abjection was the underlying aesthetic paradigm of the project, but Throb-
bing Gristle slightly shifted away from the corporeal extremism of the
COUM Transmissions era, focusing more on the (a)rhythmical, performative
and representational (in terms of lyrics and imagery) aspects of the abject
instead of the abject materiality of bodily orifices.
After entering the stage of popular culture, the element of language
gained more importance for the group’s politics. Examples of abject content
are manifold in their lyrics: they deal with serial killers and necrophilia
(‘Very Friendly’, ‘Urge to Kill’), blood and brains spilled over a breakfast
table (‘Hit by a Rock’), cutting an unborn child out of a pregnant woman’s
stomach in order to cannibalize it (‘Slug Bait’), or severely burned bod-
ies (‘Hamburger Lady’). Reynolds and Press noted that even the band’s
name—a slang expression for an erect penis—‘managed to combine
phallic innuendo with a sense of the abject nature of fleshly existence, a
reminder that being alive means being subject to involuntary processes
(excretion, reproduction, decay, death) and the everpresent possibility of
violence’ (91).
138 Florian Zappe
Even history’s utmost excess of abject violence is echoed in what

S. Alexander Reed calls Throbbing Gristle’s ‘heartstopping pseudo-fascist
vocabulary’ (75). Especially in their early years, the group frequently wore
camouflage and uniform-style stage outfits and used band logos that evoke
associations of Nazi symbols. It would be too simple to read this flirtation
with totalitarian aesthetics (a model that other Industrial acts, most notori-
ously the Slovenian band Laibach, would follow) as a radicalized version
of punk-style ‘bricolage’ or as a mere gesture of distinction from the tastes
of mainstream as well as established pop culture alike. Throbbing Gristle
employed the horrific repertoire of fascist imagery at a more profound level.
In her essay on abjection Kristeva notes:
In the dark halls of the museum that is now what remains of Auschwitz,
I see a heap of children’s shoes, or something like that, something I have
already seen elsewhere, under a Christmas tree, for instance, dolls I be-
lieve. The abjection of Nazi crime reaches its apex when death, which, in
any case, kills me, interferes with what, in my living universe, is supposed
to save me from death: childhood, science, among other things. (4)
It is exactly this kind of abjection related to the Holocaust that Throbbing

Gristle evoke by using the image of a heap of skulls for the cover art of their
single ‘Subhuman’, or by choosing a photograph as the logo of their record
label ‘Industrial Records’ that at first sight shows a factory but actually
depicts the crematorium at Auschwitz, which is, according to P-Orridge,
‘one of the ultimate symbols of human stupidity’ (qtd. in Ford 7.18).
When it comes to lyrics, Throbbing Gristle reached the ‘apex’ of abjection
in the song ‘Zyklon B Zombie’ on their debut album The Second Annual Report.
Here, the traditional coordinates of humanist morality are disarranged by
narrating—in ‘almost incomprehensible, but highly controversial’ (Kromhout
26) lyrics—a disturbing dialogue between a young Jewish girl and a warden
in a concentration camp: ‘I’m just a little Jewish girl/Ain’t no clothes on/And
if I had a steel hammer/I’d smash your teeth in/And as I walked her to the gas
chamber/I’m out there laughing/Zyklon Zyklon Zyklon B Zombie Zombie […]’.
One cannot avoid sensing an unfathomable uneasiness among critics
and scholars writing about these references. Kromhout, for example, tries to
overcome this by explicitly stressing that ‘Throbbing Gristle were violent as
much as about violence. But, one could argue, they were also against forms
of authoritarian violence. Their work aimed at uncovering and countering
hierarchical government- and industry-controlled power’ (27). Reed, on the
other hand, tries to express his ambiguity in regard to Industrial music’s
pastiche of fascist symbolism, noting that ‘[d]espite the genre’s purported

antihegemony, its unchecked battle wounds weaken its already shaky
stance on some key social and political grounds’ (204).8
IV
If we shift our focus from the content level towards the sonic and performa-
tive aesthetics of Throbbing Gristle, we will recognize a subversion of a
traditional cathartic function of rhythm and music in regard to the abject
that Kristeva traces back to Aristotle:
Rhythm and song hence arouse the impure, the other of mind, the
passionate-corporeal-sexual-virile, but they harmonize it [...]. They thus
soothe frenzied outbursts […] by contributing an external rule, a poetic
one, which fills the gap […] between body and soul. (Kristeva 28)
Although Kristeva’s statement is universal, it applies particularly well to

rock music, in which ‘[t]he abject began looming […] when the insurrection-
ary energy of the late ‘60s started to flag, and rock turned heavy’ (Reynolds
and Press 87). Undeniably, one can argue that the aesthetic experience of a
traditional rock concert is coded by a logic that corresponds to what Kristeva
has called ‘poetic purification—in itself an impure process that protects
from the abject only by dint of being immersed in it’ (28). However, the
aforementioned arousal of the ‘passionate-corporeal-sexual-virile’ through
the performance of the rock star is merely claiming subversion, drawing on
stereotypical phallocentric tropes of rebellion. Reynolds and Press highlight
the conservative gender politics ingrained in ‘rock rebellion’:
In the rebel imagination, women figure as both victims and agents of

castrating conformity. Women represent everything the rebel is not
(passivity, inhibition) and everything that threatens to shackle him
(domesticity, social norms). This ambivalence towards the feminine
domain is the defining mark of all the classic instances of rock rebellion,
from the Stones through the Doors, Led Zeppelin, the Stooges, to the Sex
Pistols, Guns N’Roses and Nirvana. (3)9
Throbbing Gristle—in their intention to be, as P-Orridge once claimed, ‘a

rock band which was actually not a rock band’ (qtd. in Ford 5.17)—were not
interested in this cathartic ritual and tried to escape it by disrupting the
140 Florian Zappe
harmonizing, external ‘poetic’ rule of the concert situation. Their shows

confronted their audiences with a challenging tonal amalgam of experi-
mentally sampled rock elements, amplified noise collages and distorted
electronically modified ‘singing’ voices up to the point of abjection where
‘sound became noise and where noise became music and entertainment
became pain and where pain became entertainment’ (P-Orridge qtd. in Ford
6.10). The result of this—as Diederichsen calls it—‘entertainment-through-
pain-programme’ is not the external, ‘poetic’ and identity-affirming rule of
the pop/rock concert, but a ‘materialist counterprogramme to all cultures
of submission, however one wishes to construe them, whether as spectacle,
sedation, or conditioning’ (Diederichsen, ‘Entertainment’ 32–33).
This sonic anti-catharsis is accompanied by P-Orridge’s equally anarchic
as erratic mockery of traditional rock star poses à la Mick Jagger. A video of
a live performance of the band’s probably best known song ‘Discipline’—
which Reed deemed an ‘overwhelming attack on the audience’ (76)—,
recorded at SO36, the center of West Berlin’s subcultural music and art scene
in the early 1980s, may serve as an example here. We see P-Orridge, dressed
in a camouflage outfit and army boots—undoubtedly alluding to the style
of skinhead culture—convulsing frantically, throwing himself on the stage
floor, violently banging his head against the amplifiers while maniacally
shouting lyrics to the audience: ‘Discipline! We need some discipline in here!
[…] Are you ready boys? Are you ready girls? Discipline!’ The performance
exemplifies Throbbing Gristle’s
hyperbole of popular music and culture, using, imitating, and exag-

gerating its workings, presenting a mirror image of everyday pop music
and culture. As they did with the conventions of modern art in their
previous work, Throbbing Gristle became one of those significant acts
in the history of popular music that turned it inside out, and its audience
with it. (Kromhout 26)
Their performative and sonic disruption of the external rule of music over
the body again serves the group’s overall attack on identity constructs in
general. Reed notes correctly that ‘[t]he normativity they seek to dismantle
is not to be replaced with a new standard, for that would just be as tyran-
nical’ (83). Instead, they advocate an ‘ever shifting absence’ (Reed 83), a
domain of constant becoming—not in a nihilistic void, however, but along
the lines of appropriated and rearranged cultural signifiers. P-Orridge him-
self poetically envisioned such a realm in a text published in the German
underground magazine Gasolin 23:
In a universe of flux there are no fixed answers. No fixed moments. Rapid-

ity, fusion, flexibility are thee hard edges, thee frame of this alchemy
of survival. Place is in thee truest sense, merely a landscape we pass
through. It has no density. Remembrance should be more exact. There
are lines, boundaries, in all of these places. There common language is
one of symbols. When order is lost, time spits. (P-Orridge 26)
This employment of the disruptive power of the abject for the total confu-
sion of the codes of the socio-cultural imaginary established by orthodox
pop narratives and the deconstruction of the rock star archetype have
to be understood in the larger context of the overriding identity politics
P-Orridge followed in all his artistic endeavors, from COUM Transmissions
to Throbbing Gristle and also his later, more occult/esoteric band Psychic
TV, which, according to Reed, ‘was conceived as a fully multimedia project,
integrating music [...], video […], and a philosophical propaganda wing, Thee
Temple ov Psychick Youth (TOPY)’ (142).
For P-Orridge—as for Throbbing Gristle—the notion of a subject,
regardless if positioned inside or outside the mainstream, cannot entail
true liberation as it remains caught up in the binary system of either/or
or subject/object. So for them, the idea of an essential fixed subjectivity
itself has to be attacked. In a fragment of what presumably is a television
interview with Psychic TV from the early 1980s, P-Orridge elaborates on
this philosophy:
Well the I is what we call the flat people who assume that the person that
they’ve been donated by social conditioning is a one dimensional actual
person. The We is how we see the world which is that everybody is made
up of lots and lots of different personalities, fantasies, [and] attitudes,
and that a multi-personality is in fact the reality, not the I personality...
(‘PTV Interview’)
Staging the ‘abject’ in the domain of the popular is one promising strategy
to evoke this multifaceted notion of the ‘multi-personality’ as
[t]he abject has only one quality of the object—that of being opposed
to I. If the object, however, through its opposition, settles me within the
fragile texture of a desire for meaning, which, as a matter of fact, makes
142 Florian Zappe
me ceaselessly and infinitely homologous to it, what is abject, on the

contrary, is radically excluded and draws me toward the place where
meaning collapses. (Kristeva 1–2)
Abjection can therefore have the productive function as a ‘door-opener’

towards a liminal realm that offers those possibilities for a continuous
renegotiation of symbolic orders that Homi K. Bhabha attributed to his
concept of the ‘Third Space […] which constitutes the discursive conditions
of enunciation that ensure that the meaning and symbols of culture have
no primordial unity or fixity; that even the same signs can be appropriated,
translated, rehistoricized and read anew’ (37).
In 2003, Breyer P-Orridge started to transform his own body into such a
space of identitarian renegotiation by literally opening it up—not only on
the symbolic or performative level but also on that of the materiality of the
corporeal. In a collaborative project with his second wife Lady Jaye Breyer
he worked on the construction of what the couple called a ‘pandrogynous’
identity. The endeavor is in accordance with Reed’s observation that ‘abjec-
tion strives for an Artaudian rebirth into a new flesh uninterrupted by the
real world and untouched by that most fundamental logic, the subject-
object division’ (177–78). The artist couple implemented this idea almost
literally by cutting through their skin, which is that ‘fragile container’ that
guarantees ‘the integrity of “one’s own and clean self”’ (Kristeva 53). The
programmatic statement for this practice of physical disinterpellation
by rearranging the biological signifiers of gender identity on P-Orridge’s
website reads as follows:
Inspired by the language of true love and frustrated by what they felt to
be imposed limits on personal and expressive identity, Genesis and Lady
Jaye applied the ‘cut-up’ to their own bodies in an effort to merge their
two identities, through plastic surgery, hormone therapy, cross-dressing
and altered behavior, into a single, ‘pandrogynous’ character, ‘BREYER P-
ORRIDGE’. This project focused on one central concern—deconstructing
the fiction of self. (genesisbreyerporridge.com)
The Pandrogeny project is the literal embodiment of the in-betweenness

of the abject and its capacity to escape cultural containment that was
only performed and lyrically addressed before. It presents, to frame it in
Deleuzean terms, a ‘line of flight’ from the aforementioned cultural fiction
of the ‘I personality’ that leads the self on ‘a path of mutation precipitated
through the actualisation of connections among bodies that were previously
only implicit (or “virtual”) that releases new powers in the capacities of
those bodies to act and respond’ (Lorraine 145).
Art and music to h/er (as s/he prefers to be referred to since the beginning
of the Pandrogyny project) are therefore not primarily modes of expres-
sion—that would presuppose the idea of the ‘I’ of a speaking subject—but
means of communication of this escape route from what s/he perceives
as the prison-house of a fixed and unified identity, a narrative that also
governs traditional pop culture.
Certainly, the growing recognition of Throbbing Gristle as an important
cultural influence on a variety of rock music subgenres and especially
Breyer P-Orridge’s ever increasing canonization in the art world raise the
question of whether h/er strategies can effectively work as a form of cultural
resistance. To answer that problem, we might again draw on Berressem, who
stresses that abjection as a counter-cultural strategy can escape incorpora-
tion if it leaves the level of the symbolic and turns to the materiality of the
body:
Even if countercultures celebrate abjects, they can never be […] expe-

rienced as simply positive, a fact that makes for a deeply disturbing
underside to these celebrations. Although abjects may be included into a
logic of cultural subversion, they remain disturbing on their own ground;
the ground of matter and its organizations|disorganizations. (46)
So even if Breyer P-Orridge may have become increasingly canonized (yet

hardly commodified) the radical commitment to h/er life-long project of
de-essentializing the concept of identity itself, ultimately resulting in the
return to the materiality of the body and the disturbing re- or disorganiza-
tion of its biological signifiers in the ‘Pandrogyny’ project, might prevent
h/er from becoming what Berressem calls a ‘faux-abject’ that ‘remain[s]
caught within the economies of the cultural|linguistic matrix’ (44). True
abjects however ‘are so dreadful for both culture and the subject precisely
because they are not merely its cultural others—it is in this realm that
faux-abjection operates, as when it juxtaposes puritan cleanliness to “dirty
things”—but disruptive material forces that are operative in the subject
and in culture’ (Berressem 44).
One can without any doubt claim that the ‘abject verité’ is the predomi-
nant leitmotif that runs through any aspect of Breyer P-Orridge’s unpop
stardom. The radical materiality of h/er body modif ication renders h/
er an abject work of art in its own right that sabotages the phallocentric
identity machine of traditional pop culture. Through h/er ongoing activity of
144 Florian Zappe
performing and recording music10 s/he will—by sheer physical presence as

well as h/er dissonant and violent opposition against the inherited rhetoric of
pop—remain an agent in the service of abject unpopular culture’s resistance
to closure: h/er art eludes location, it is neither ‘high’, nor ‘low’ nor ‘pop’, and
yet all of these at once—or to say it with Kristeva’s words, it operates in the
territory of ‘the excluded, the outside-of-meaning, the abject. Atopia’ (22).
Notes
1. Qtd. in https://realitysandwich.com/22347/process_product/ and also—

fragmentarily—in Ford 1.6.
2. For a comprehensive overview see Hecken.
3. Diederich Diederichsen differentiates between two major eras in pop history:
Pop I (lasting roughly from the early 1960s to the 1980s) in which the discourse
could credibly claim the potential for revolution and subversion and the phase
of Pop II (beginning in the early 1990s) in which pop’s transgressive promises
have drowned in the sea of a postmodern plurality in which everything can be
labeled as ‘pop’. He aptly notes: ‘Pop I has always been entangled with trans-
gressive movements, whereas it seems, at a first glance, to be the tragedy of
Pop II that there is no territory left that resists being invaded by it. [Pop I war
immer in grenzüberschreitende Bewegungen verwickelt, das Drama von Pop II
besteht auf den ersten Blick darin, dass kein Terrain sich gegen seine Invasion
mehr sperrt]’ (Diederichsen, Der lange Weg nach Mitte 275, my translation).
4. Deleuze argues that, after the Second World War (in an interesting parallel
development to the rise and decline of Pop I), the disciplinary societies, whose
mechanisms of governance relied on the various institutions of enclosure
Foucault has described (the family, the school, the army, the factory, etc.),
have continually been replaced by the new societies of control, characterized
by an inescapable ubiquity of ‘ultrarapid forms of free-floating control that re-
placed the old disciplines operating in the time frame of a closed system’ (4).
5. Born as Neil Megson, the artist adopted the pseudonym ‘Genesis P-Orridge’
in the 1960s and changed it to ‘Genesis Breyer P-Orridge’ in 2003 after starting
a body modification art project called ‘Pandrogyny’ in collaboration with his
second wife Lady Jaye Breyer P-Orrdige. For the sake of accuracy I will refer
to the artist as ‘P-Orridge’ when talking about his work before 2003 and as
‘Breyer P-Orridge’ for work since then.
6. Berressem uses the italicized ‘a’ in order to distinguish his interpretation of
these terms from the common use within the discourse of the abject.
7. Besides P-Orridge and Tutti, the musicians and sound artists Chris Carter
and Peter ‘Sleazy’ Christopherson, who had occasionally collaborated on
various COUM Transmissions projects, completed the group.
8. Especially the fact that the genre was and is up to this day predominantly
white and masculine—the two central attributes of every fascist identity
narrative—in many ways obstructs the use of its aesthetics for other forms
of identity politics.
9. Of course, this characterization would also apply to other phallocentric
forms of pop(ular) cultural rebellion such as Hip Hop.
10. Throbbing Gristle existed from 1975 to 1981 and reunited in 2004 until Chris-
topherson’s death in 2010 put a definitive end to this project. After a first
phase of existence from 1982 to 1999, Breyer P-Orridge revived h/er Psychic
TV project in 2003. It is active to this day.
Works Cited
Becker-Leckrone, Megan. Julia Kristeva and Literary Theory. Basingstoke: Palgrave Macmillan,
2005. Print.
Berressem, Hanjo. ‘On the Matter of Abjection.’ The Abject of Desire. The Aestheticization of the
Unaesthetic in Contemporary Literature and Culture. Ed. Konstanze Kutzbach and Monika
Mueller. Amsterdam: Rodopi, 2007. 19–48. Print.
Bhabha, Homi K. The Location of Culture. London: Routledge, 1994. Print.
Deleuze, Gilles. ‘Postscript on the Societies of Control.’ October 59 (Winter 1992): 3–7. Print.
Diederichsen, Diederich. Der lange Weg nach Mitte: Der Sound und die Stadt. Cologne: Kie-
penheuer & Witsch, 1999. Print.
—. ‘Entertainment through Pain.’ Cosey Complex. Ed. Maria Fusco and Richard Birkett. Cologne:
Koenig Books, 2012. 25–34. Print.
‘Discipline.’ Throbbing Gristle. YouTube. 2006. Web. 7 Apr. 2016.
Ford, Simon. Wreckers of Civilisation. The Story of Coum Transmissions & Throbbing Gristle.
London: Black Dog Publishing, 1999. Print.
Hecken, Thomas. Pop. Geschichte eines Konzepts 1955–2009. Bielefeld: Transcript, 2009. Print.
Huyssen, Andreas. After the Great Divide. Modernism, Mass Culture, Postmodernism. Basingstoke:
Macmillan, 1988. Print.
Kristeva, Julia. Powers of Horror. An Essay on Abjection. Trans. Leon S. Roudiez. New York:
Columbia UP, 1982. Print.
Kromhout, Melle Jan. ‘“Over the Ruined Factory There’s a Funny Noise”: Throbbing Gristle and
the Mediatized Roots of Noise in/as Music.’ Popular Music and Society 34.1 (2011). 23–34. Print.
Lorraine, Tasmin. ‘Lines of Flight.’ The Deleuze Dictionary. Ed. Adrian Parr. Edinburgh: Edin-
burgh UP, 2005. 144–46. Print.
P-Orridge, Genesis. ‘German Order.’ Gasolin 23 9 (1986): 24–26. Print.
‘PTV Interview (Genesis P-Orridge & Peter Christopherson).’ YouTube. 2007. Web. 7 Apr. 2016.
Reed, S. Alexander. Assimilate—A Critical History of Industrial Music. New York: Oxford UP,
2013. Print.
Reynolds, Simon and Joy Press. The Sex Revolts—Gender, Rebellion and Rock ‘N’ Roll. London:
Serpent’s Tail, 1995. Print.
Vale, V. and Andrea Juno. Industrial Culture Handbook. San Francisco: RE/Search, 1983. Print.
‘Famous in a Small Town’
The Authenticity of Unpopularity in Contemporary Country
Music1
Christian Schmidt
In this essay, I aim to analyze the intricate ways in which popularity and
unpopularity are—perhaps oxymoronically—part and parcel of contempo-
rary country music. Importantly, I focus on commercially successful forms
of country music and thus deal with a musical genre that is truly popular
in one sense of the term at the same time as it thrives on its self-conscious
distance from the perceived artificiality of popular culture and aims to
establish itself as the true music of the common American folk—truly
popular music in a slightly different understanding of the term. In this
context, any study of contemporary commercial country music—thus
my claim—needs to come to grips not only with the ways in which the
music taps into a discourse of American popular culture, but also with its
self-styling as this popular culture’s unpopular other. Even though country
music truly is popular music, it relishes an image of un‑popularity that
stands in marked contrast to common ideas about popular music. At least in
part, it does so by staging a notion of authentic Southern and Dixie identity
that is constructed in and through the music and its visual representation in
music videos. If we add to this claim Frith’s by-now classical observation that
‘popular music is popular not because it reflects something, or authentically
articulates some sort of popular taste or experience, but because it creates
our understanding of what popularity is’ (‘Towards’ 137), the interesting
question remains: what identity does country music create and construct?
And how does this idea relate to the notion of unpopularity rather than
popularity as well? In an attempt to provide partial answers to these ques-
tions, this paper analyzes how country music constructs the idea of a truth,
a real thing behind the music, in the first place, and how this produced
notion of the real takes the form of proudly unpopular forms of cultural
expression. Country music, I argue, constructs a notion of authentic identity
that is both widely unpopular and that plays with the image of country as
popularity’s metronormative other, in Judith Halberstam’s terminology. In
order to do justice to country’s simultaneous popularity and unpopularity,
my reading will argue that country music is popular culture, yet at the same
time pinpoint the particular strategies used by the country music industry,
148 Christian Schmidt
its artists, and its audiences to mark their distance to it and construct an
image of country music as the more authentic counterpart to supposedly
artificial popular culture.2
Country and/as Popular Culture
Looking at all available indicators of popularity, country music may well be

the most popular genre of music in the United States: there are more radio
stations exclusively dedicated to playing country music than any other
musical genre, just as the sales figures of physical records continue to exceed
most other genres. A cursory look at Billboard’s so-called ‘Rich List’ of the
forty top-selling musical acts of 2013 underlines this, as it not only includes
more than 10 country artists but is spearheaded by two of them, namely
Taylor Swift and Kenny Chesney (cf. ‘Music’s Top 40’). Moreover, even among
a presumably younger audience country music is alive and kicking: From
its first season in 2011, the American television casting show The Voice has
included country star Blake Shelton among its superstar jurors. Already in
2005, country singer Carrie Underwood won the fourth season of American
Idol by a huge margin of audience support and since then has gone on to sell
more albums than any other winner of that show (roughly 15 million copies)
in addition to receiving numerous Grammy, CMA, and ACM awards. Today’s
biggest country stars, such as Underwood, Shelton, Miranda Lambert, or
Brad Paisley not only sell millions of records, but also reach large audiences
through social media such as Twitter or Facebook. Recent years have seen
further in-roads of the supposedly old and outdated country music into more
mainstream pop-cultural terrain.3 In a related development, television shows
such as Nashville, the Southern-themed Hart of Dixie, and reality shows like
Duck Dynasty have taken up explicitly Southern settings, which, at least in
part, entail a cultural atmosphere permeated with, if not dominated by,
country music. The South and with it country music have become thriving
markets and increasingly have crossed over from being products of regional
culture to becoming icons of popular culture in a broader sense.4
Yet, at the same time, country music presents an exquisite paradox in
that it refuses to stylize itself as popular. Even though its self-understanding
is that of music made by and aimed at the common man—thus, popular
in a very elementary sense of the term—it explicitly rejects an association
with popular culture, understood as artificial ‘pop’ culture. Of course, one
can read this simply in terms of a cultural niche tailoring its products at a
particular market, creating an offer for a closely circumscribed clientele
of rural, small-town people, the common folk; yet, such an analysis falls
short when we consider country music’s often implicit claim to being the
American music, of its being the soundtrack of American life more widely
understood. As George Bush, Sr. phrased this when he declared October
1991 ‘Country Music Month’ during the height of the first Gulf War: ‘Of
course, while country music speaks from the heart of the American people,
it has—like liberty itself—a great and universal appeal’ (qtd. in Mann 74).
Yet, while country music speaks to and for all American people, it also
restricts itself to being the music of the ‘Little Man’, as Alan Jackson sang
in his 1999 hit single of that title. Thus, country music epitomizes a form
of self-consciously unpopular culture: it is a highly commercialized genre
with immense sales figures and wide outreach and, as such, part and parcel
of contemporary American popular culture. At the same time, however,
everybody involved in it views this very popularity highly skeptically,
since country music quickly runs the risk of selling out the interests of
the small folk for whom it has to speak and sing. Despite its wide-ranging
popularity and in spite of its own self-fashioning as the music of the people,
country music is seldom mentioned, and even more rarely actually analyzed,
when it comes to discussions of American popular music and culture. As
literary critic Barbara Ching observes in her analysis of hard country and
contemporary culture, country music is ‘one of the most popular forms
of music in the United States’ yet at the same time has not ‘figured in any
of the now canonical discussions of postmodernity’ (Wrong’s 3). And she
goes on to argue that this observation is indicative of ‘just how remote
country music is from intellectual discourse, and thus how overlooked it is
in contemporary cultural politics’ (3). Why is one of the most popular genres
of music so decidedly unpopular both with academics and ‘the people’ in
a broader sense? And why are there still strong prejudices in place against
country music as hopelessly outdated, decidedly un-hip, something from
which it is better to distance oneself? Furthermore, why is country music
proud of this very unpopularity? In this paper, I want to shed some light on
the ways in which country music is a form of such unpopular culture and
in doing so answer the question implied in my title: Why is country music
so dang proud of only being famous in a small town?
Famous in a Small Town? – Country’s Unpopularity
Researching unpopular cultures produces a surprising dearth of studies

of the unpopular.5 This is surprising because the unpopular is not only the
dark underside of the popular but, as popular is a relational term, study-

ing its others and its opposites is necessary in order to circumscribe what
popularity actually entails. As a wide variety of critics—in fact, more or
less everybody writing about country music—has argued, the creation
of authenticity is at the heart of what defines country music (cf. my own
‘Nashville’ for a critical discussion of the role of authenticity in definitions of
country music). True country music, so the reasoning goes, is the unpopular
realm of small-town folks and precisely not the glitter of Hollywood or
Broadway and thus almost necessitates a negation of commercialism and
popular success. It is not a part of the pop culture industry, but rather an
honest encounter between fans and performers, who meet as equals in
the shared space of the home of country music, which is usually located
in an idealized, Southern small town. Thus, ‘[c]ountry music still ha[s]
something popular music [does] not—it [is] “real”’ (Jensen 128, my italics).
This also means, as Jocelyn Neal has shown, that the music ‘both is part
of mainstream pop culture and stands in stark opposition to it’ (474). Yet,
if cultural studies scholar John Storey is also correct in arguing that ‘[p]
art of the difficulty [in defining popular culture] stems from the implied
otherness which is always absent/present when we use the term “popular
culture”’ (1), where does this leave country music? If we agree that popular
culture is, indeed, ‘an empty conceptual category’ (1), one that is always
defined in contradistinction to other categories, such as high culture, folk
culture, mass culture, or the unpopular, how does country music figure in
this equation? It is popular culture and thus stands in marked contrast to
forms of high culture, yet at the same time it also is unpopular culture par
excellence, self-consciously refusing to be popular. Since country music
partakes of both popular and unpopular culture, it becomes clear that
these two categories are working with different scales that lie orthogonal
to one another: one is quantitative (successful vs unsuccessful), the other
qualitative (what truly represents the people vs what represents only an
elite, for example). Thus, contemporary country music can be commercially
successful—hence popular—and unpopular at the same time, and these are
the complex cases of unpopular popular music in which this paper stakes its
claim. Even though popular for the sake of its wide appeal, country music
consciously distances itself from other forms of popular culture that it views
as inauthentic, fake, or artificial. Proudly inhabiting this subaltern space
of unpopularity, country music then simply has to be proud of only being
famous in a small town.
Of course, setting itself up as the other of popular music leads to the
oxymoronic notion of an unpopular popular culture, a form of culture
that at the same time claims to speak for the average, common Ameri-
can as it refuses to be popular. This entails a self-positioning in explicit
contradistinction to all other forms of popular culture in that it rejects
the rules of pop stardom, the musical market, and the like. At the same
time, however, the music also sets itself in explicit contrast to so-called
high-culture and any form of elitist presumptions. The prime example for
this can be gleaned from one of the oldest institutions of country music: the
Grand Ole Opry, whose very name marks an explicit distinction from opera
as the prototypical example of high culture. In 1925, WSM’s barn dance got
its moniker to differentiate between the rich people’s opera and the folks’
grand ole opry, while also creating a rural, Southern identity in opposition to
urban forms of popular culture. From its inception, then, country music has
operated in opposition to both high culture and mass culture and thus in the
space of unpopularity. As Lüthe and Pöhlmann state in their introduction,
unpopular cultures are productive rather than expressive of identities, and
they argue: ‘If popular culture—just as much as high culture—is being
used to create the people in the first place, not as a culture for the people
but a culture constructing the people as a people by giving them a history
and an identity, the unpopular culture is the disruptive element in this
construction, resisting its homogenizations and omissions, opposing the
complete smoothing of a striated cultural space’ (27). In the context of
my discussion of country music, I take this to mean that constructing the
country folk as unpopular establishes the music as a ‘thorn in the side of
the mainstream’ (Lüthe and Pöhlmann 9) as it sonically creates a rural
Southern identity to oppose a homogenized national culture that I will
describe in Halberstam’s terminology as metronormative. This, of course,
complicates constructions of American (popular) identities, if we bear in
mind that country music establishes itself as simultaneously popular and
unpopular. Contrary to what the editors observe in their introduction,
however, country music, as the popular unpopular, does not ‘sing the songs
nobody else wants to sing, [nor does it] show the world what it does not
want to see’ (27). Rather, it creates a particular notion of the people as pop
culture’s other, but does so not from a subaltern position but from the space
of the (silent) majority—and this population does want to hear and sing
these very songs, in fact needs to hear these songs in order to make sense
of themselves in today’s world. In order to do that, the music clings to a
nostalgic version of a past that never was in order to give the people exactly
what they want and need.
Aaron Fox has convincingly shown that country music defines itself as
music of, by, and for the common folk, the people, and thus is popular music
in its most basic definition. In addition, however, country music, more than
any other genre of commercial music, sets itself up as the other of popular
music. In Fox’s words, it stylizes itself as a form of ‘abject’ culture, which
relishes its own status as self-avowedly ‘bad’ and unpopular music by speak-
ing from the much disabused subject position of what Wray and Newitz call
‘white trash’.6 More generally speaking, country music is widely perceived
as a genre that is decidedly unpopular, antiquated, uncool, something to
be ashamed—rather than proud—of. In her study of country’s perceived
otherness, Hubbs argues that a ‘taste for country music is the failure of
taste that flags a lack of moral value’ (41) since a declaration of distaste for
the music, in this context, ‘appears first and foremost as a gesture of social
exclusion. Musical exclusion is secondary, a vehicle and symptom’ (24).
In short, country music is unpopular not because of any inherent musical
flaws, but rather due to what it is perceived to stand for.7 To urban, Northern,
non-country ears, the music appears as ‘dumb, reactionary, sentimental,
maudlin, primitive, and so forth’ as they ‘hear a commodification and cheap-
ening of the same supposed folksy authenticity that so disgusts [them]’
(Ching, ‘Acting Naturally’ 231). Ching calls this the ‘double bind of rustic
authenticity’ (232); that is to say, the music either crudely represents the
rustic life of rural America (and is thus nothing but folklore) or represents
failed attempts at creating the impression of such an authenticity (and is
therefore, perhaps, even worse). In this context, Hubbs’s conclusion that
‘country music function[s] as proxy for the people of the white working class,
figured as ignorant and bigoted’ is spot on and—drawing on Bryson—she
‘suggest[s] that shared distaste may be as culturally significant as shared
taste, the usual object of inquiry in studies by Bourdieu and many other
researchers’ (45, my italics).
In this shared distaste for the ways of small-town Southern folks, which
finds its way into distaste for ‘their’ country music, lies the kernel that
explains both the unpopularity of country music and its pride in this very
unpopularity. As Aaron Fox has elaborated, country music’s ‘working class
fans embrace what is ‘bad’ about the music’s—and their own—cultural
identity and meaning, as a way of discovering and asserting what is valuable
and good about their lives and their communities’ (52). In his argument
about the music’s badness—which is quite similar to my own reading
of the music as self-consciously unpopular, even if I focus more on the
producers’ than on the receivers’ end of the equation—, Fox argues that
the working-class fans embrace country music precisely because it is bad
for them and thus turn it into an ‘abject sublime’. This ambivalent gesture
can productively be read in terms of what Judith Halberstam has called
‘metronormativity’ (36; cf. 36-38). In metronormativity, so she claims, the

urban is established as the unmarked norm by the adjudicators of good taste
and culture against which the rural always already is marked as the deviant
other. The lack of critical attention to country music can be explained in
terms of such metronormativity in that country always already is viewed as
the (marked) exception and therefore cannot tell us anything about the peo-
ple as a whole. Interestingly, country music cedes this metronormative point
and embraces its own non-normativity as abject bad music or, in my terms,
self-consciously unpopular music, the ‘unpopular’ other to the unmarked
norm of popularity. That is to say, country fans embrace the music’s ‘bad’
identity in a defiant gesture that both acknowledges the metronormative
gaze as it refuses to be stymied by it. The music’s ‘sublime quality’, then, is
to be found in this very badness, or rather, in this re-valuation of something
bad into something good. In Fox’s words: ‘It’s all good because it’s all bad’
(59). Thus, it’s all popular because it’s all unpopular—or, put differently, they
are famous because they create the credible impression of only wanting to
be famous in a small town.
Miranda Lambert, ‘Famous in a Small Town’
Miranda Lambert’s 2007 single ‘Famous in a Small Town’ not only provides
the title for this paper but also points to the central contradiction at the
heart of much of country music: how is it possible to enjoy popular success
without sacrificing one’s own authenticity on the altar of artificiality? In
its lyrics as well as in its musical and visual presentation, Lambert’s music
video addresses the trappings of fame and directly engages the economics
of popularity by singing about the advantages of unpopularity. The lyrics of
the song waste no time getting to the heart of the matter, as the first verse
immediately establishes the contradiction between popularity and small
town anonymity. The first line describes an outsider’s (metronormative)
point of view, cryptically indicting an unreferenced ‘They’ who think that
‘life is so much sweeter through the telephoto lens of fame’, whereas ‘around
here you get just as much attention / cheerin’ at the high school football
game’. The deictic ‘here’ thus juxtaposes the beauty of small-town life where
everybody is a star and, given the upbeat driving rhythm of an acoustic
guitar strumming in a major key, the song already implies that this is neither
a dirge nor an indictment of this small town but a resonant celebration of it.
The song’s video stages this conflict quite effectively by showing us two
parallel narrative strands: on the one hand, we see a small-town girl in boots
and dress walking through the eponymous ‘small town’, shot in black and
white. On the other hand, the clip also showcases a musician and her band,
playing on a bright red carpet, closely cordoned off against the backdrop of
a marquee banner with the singer’s name. This contrast is most effectively
introduced in the second verse of the song: after the drums and electric
guitars have set in, the lyrics move to the possible fame of Nashville as the
video switches from monochrome black and white to colorful shots of pop
stardom. Here, the video juxtaposes glamour shots on the red carpet—on
which Lambert, in shiny clothes and full make-up, and her band perform the
song—, including flashing cameras and all the other colorful accoutrements
of pop stardom to the black-and-white popularity in a small town. Through
the harsh juxtaposition of these two storylines, the video shows that being
famous in a small town may be desirable but cannot easily be reconciled
with commercial and popular success. It is an either/or-choice, it seems,
since the worlds are simply too far apart. In fact, the lyrics explicitly ques-
tion the need for pop-star fame and popularity, seeing that in small-town
America everybody dies famous because everybody already is popular,
whether it is for shooting ‘the first buck of the season’ or for ‘cheerin’ at the
high school football game’. To visualize this, the video cuts various faces of
small-town people against the artist singing on the red carpet, juxtaposing
the two versions of popularity: real popularity vs small town popularity,
a.k.a. unpopularity. Hitting home its point, the song’s bridge spells out the
advantages of this latter unpopular popularity: ‘Well, baby who needs their
faces in a magazine? Me and you, we’ve been stars in this town since we were
seventeen’. Importantly, the black-and-white scenes do not appear bleak at
all but come across as more grounded—more ‘real’, if you will—than the
artificial colorfulness of popular stardom.
Given that Miranda Lambert stars in both storylines, however, the video
also implies that it is possible to be both successful and to remain the simple
girl next door, popular and unpopular at the same time. And this is the
important point: in order for the song to work as country music, Lambert
needs to be able to negotiate the gap between pop star and unpopular local
hero, as country music audiences do not allow for distantly aloof superstars.
No, they want even ‘their’ biggest stars to remain normal people—’just
folks’—rather than artificial industrial products. They need to be both, the
black-and-white regular girl next door and the glamorous superstar. In a
certain sense, then, Lambert’s song relishes the authenticity of unpopularity
in country music even as it performs the very tension at the heart of country
music: Miranda Lambert, of course, never would have become the country
superstar she now is if she were literally ‘only famous in a small town’.
Similarly, her single would not have sold in excess of 500,000 copies and
been certified gold record status had it remained within the confines of
her home town of Lindale, Texas, or within Lebanon, Tennessee, where the
video was shot. Rather, country music sings about and for a metaphorical
small-town America in order to distance itself from mainstream popular-
ity. Presumably, it can do so without succumbing to the allures of pop
stardom, and the country artist can, allegedly, stay true to the expectation
of authenticity, which requires her to remain just a small town girl. As a
country musician, Lambert can, and has to be, both: famous and famous
in a small town.
Brad Paisley, ‘Southern Comfort Zone’
Another song that plumbs these same depths is Brad Paisley’s 2012 single
‘Southern Comfort Zone’. It also quite self-consciously blends the dimen-
sions of country’s simultaneous popularity and unpopularity and describes
the need to leave behind the singer’s titular Southern comfort zone and
venture out into a world in which ‘Not everybody owns a gun [or] wears
ball-cap, boots, and jeans’. Just as in Lambert’s song, Paisley’s lyrics make
no mention that its lyrical I is a musician—yet, both songs more or less
imply that their singers are not narrating a fictional story but are singing
autobiographically about their own personal lives. Doing so, both Lambert
and Paisley fold their artistic personae and their ‘real’ identities into one,
in an attempt to create an authentic country persona who is the ‘real deal’,
rather than an artificial pop star. ‘Southern Comfort Zone’ tells the story
of a Southerner who leaves home, only to be surprised that ‘not everybody
drives a truck, not everybody drinks sweet tea’. The song opens with an
acoustic guitar intro that is supported by the warm sound of a violin and the
soft resonance of a mandolin, sampled into which are an excerpt from Jeff
Foxworthy’s ‘You Might Be A Redneck’ routine and a snippet from The Andy
Griffith Show, thus setting the story in an imaginary Southern soundscape.
Even more outrageously, the song explicitly refers to the Southern Comfort
Zone as ‘Dixie land’, thus taking on a historically loaded term, complete
with associations of the old South, slavery, rural backwardness, and all
the historical baggage that makes ‘Dixie’ a contentious and thoroughly
unpopular topic. As if this were not enough, the song is framed by choral ren-
ditions of the song ‘Dixie’, and Paisley’s powerful electric guitar, drum, and
banjo-driven chorus inscribes itself into the Southern tradition by directly
addressing ‘Dixie land, I hope you understand’. Yet, in its overemphasis
of some of the worst stereotypes of the Southern folk as gun-carrying,

Nascar-loving, Billy Graham-following, Dixie-singing backward yokels,
the song embraces these very stereotypes and claims the abject otherness
of Southern identity as country music’s legacy. Paisley’s southern comfort
zone, thus, is the realm of the unpopular—unpopular, that is, in the sense
that Southern pride is frowned upon (in educated circles) as backward,
reactionary, and highly politically incorrect; and unpopular in the sense
that the comfort zone is understood not as the wide realm of the pop world
but refers to a more or less closely demarcated idea of home that explicitly
does not speak for all American people. In the words of the song’s pre-
chorus, country music sings about and for a frowned-upon ‘minority’—an
experience the singer has made on his cosmopolitan travels outside his
Southern comfort zone—rather than for the people as a whole. In this,
country music embraces its own outsider status, its own unpopular image,
and revalues it from a stain into a rallying cry.
The supreme irony of the ‘Southern Comfort Zone’ becomes even clearer
in its music video: its opening shot shows Paisley starting his tractor, dressed
in Jeans, T-Shirt and wearing the inevitable cowboy hat.8 Different from the
album version, the video opens with a sample from the First World War-song
‘How ya gonna keep’em down on the Farm? After they’ve seen Paree’ (by Joe
Young & Sam M. Lewis), which ironically highlights the central oppositions
at play within country music’s unpopularity: the safety of the small-town
home versus the world, the unpopular tackiness of the small town boy, who
phonetically misspells the name of the French capital versus the draw of
cosmopolitan popularity. Once Paisley starts singing and strumming his
acoustic guitar, the song slowly merges the rumbling of the tractor and
the rhythm section of the band until, eventually, the scene cuts from the
tractor to the singer running through a variety of European cities set against
a fairly rocky musical accompaniment. As the song ends, the video cuts
back to the still stuttering tractor, thus framing the popular, worldly music
within a bracket of authentic Southern Dixieness. In many ways, then, the
video self-consciously plays with the distinction between being down-home
and worldly: it does so through its lyrics but also in its mixing of musical
elements from traditional country and more cross-over/rock-oriented bits,
such as the driving rhythm of the song or the extended electric guitar solo.
Juxtaposing the country yokel and his tractor to the worldly cosmopolitan
hectically rushing through European metropolises, the video portrays him
as ultimately being equally at home in both. Moreover, the video cleverly
plays with the supposedly large discrepancy between these roles and thereby
signals not a ‘lack of sophistication’ but openly and self-reflexively ‘functions
as a sly, even campy, announcement of the fact that it is a performance rather

than a spontaneous expression of some pure emotion or state of being’, as
Ching has argued (‘Acting Naturally’ 233). In other words, Paisley’s song
self-consciously performs its ‘authentic’ countryness by presenting the
music precisely through the lens of a metronormative point of view that
pigeonholes country music accordingly. In this respect, Paisley’s tractor and
cowboy hat are simultaneously serious and deeply ironic gestures meant to
underline both the authenticity of the music and the awareness that this is,
after all, a performance. Rather than being a dismissal of the stereotype of
the backward Southern redneck, ‘Southern Comfort Zone’ echoes and thus
updates the infamous ‘Dixie’ as it loudly bangs a drum for the small-town,
Southern heritage of the music. Yet, as a self-conscious performance the
song also indicates that this Southern authenticity is no longer—if ever
it was—to be had without the cosmopolitan dimension. In its sonic and
visual blending of these two elements, the video showcases the enmeshment
of the modern and the traditional, the popular and the unpopular and
thereby complicates this very distinction. Yet, like so many country songs,
old and new, it needs to reiterate the authentic heart of country, the Southern
comfort zone without which no country popularity could ever come about:
In short, without the tractor, Paisley would be just another pop star.
Darius Rucker, the South, and Unpopularity
As should have become clear, one of the defining criteria of country music
is a self-conscious questioning of what it actually means to be country in
the first place. As I have claimed, part of what makes country popular to its
practitioners, fans, and critics is its embrace of a certain authentic image of
‘being country’ that celebrates its own unpopularity. In order to continuously
underline this otherness from the merely popular, country music employs a
wide variety of what Joli Jensen calls ‘authenticity markers’ that ‘certify […]
country music as real to fans [yet which] are the same markers that seem
corny and hillbilly to everyone else’ (13, emphasis in original). These markers
range from the ‘ball-cap, boots, and jeans’ mentioned in ‘Southern Comfort
Zone’ to the seemingly ever-present cowboy hat, and also include tractors,
honky tonks, sweet tea, but also conservative values and religious beliefs,
and a large variety of things that make country music appear unpopular
and unappealing to certain audiences. In many country lyrics, you will find
such proud celebrations of authentic country identity, all of which revolve
around a counter-modern, anti-popular form of Southern pride.
Telling examples of such nostalgic Southern pride can be found in the

music of Darius Rucker, who, after a successful career as lead singer for the
indie rock band Hootie & the Blowfish in the 1990s, has established himself
as a mainstream country artist. Throughout his country oeuvre, Rucker
flaunts his Southern identity, exemplified by his third country album,
Charleston, SC 1966 (2010), whose title references the singer’s own year of
birth and his hometown, thus blending the singer’s private life with his
public country star persona. The song ‘Southern State of Mind’ describes
a Southerner’s experiences in Eastern and Western locations, where his
way of life renders him an unpopular minority much as in Paisley’s song.9
Coincidentally, Rucker’s song about being the Other of metronormativity
invokes some of the same authenticity markers as does Paisley’s song,
singing that ‘You can see it in the clothes I wear, you can hear it when I
talk / Ball-cap, boots, and jeans, and a little Southern drawl’.10 Establishing
the South not only as a real geographic space but as a metaphorical home,
the song juxtaposes the quirkiness of a ‘Southern State of Mind’ with the
modernity of urban life, in relation to which country music self-avowedly
has fallen out of both time and space. Similarly, Rucker’s 2013 Grammy
award-winning hit-single ‘Wagon Wheel’11 captures an image of the South
as both sentimental home and as unpopular other to the ‘cold up in New
England’, as the lyrics stipulate. Selling nearly three million copies of the
single in two years (cf. ‘Wagon Wheel’), the song clearly was a popular smash
hit that celebrates a Southerner’s running away from a Northern, urban, and
metropolitan life. The song’s up-beat chorus with its catchy repetition of
Dylan’s original phrase ‘Rock me, momma, like a wagon wheel’ is addressed
not to the singer’s real mother but metaphorically establishes the South as
nurturing mother figure to which the lyrical I of the song desperately yearns
to return. Just as the musician of Lambert’s song flees the lure of Nashville,
Rucker’s singer returns to the Southern small-town life that is his home as
he was ‘born to be a fiddler in an old-time string band’. Within the song,
the South serves as the metaphorical bosom nurturing the singer and even
takes on an existential dimension as the third verse builds momentum
toward the final chorus: ‘And if I die in Raleigh, at least I will die free’. Here,
reaching the South means freedom—even if this entails death.12 The music
video of this song further underlines this impression as it shows the singer’s
hitchhiking quest through a cold world eventually to find bodily warmth
and human touch in a live music setting. On this journey, the neighborliness
of the kind people driving him—all portrayed by members of the Robertson
family 13—stands in striking contrast to his chilly surroundings. Once the
song reaches its final chorus, the singer has found the place in which he can
be both warm and free: a small bar where he performs ‘Wagon Wheel’ in
front of an appreciative audience that joins him in a communal sing-along
of the lyrics.14 Catching the musically ‘southbound train’ of the oft-repeated
chorus, Rucker’s lyrical I yearns for—and ultimately reaches—the small-
town Southern home of authentic country life as the song celebrates the
authenticity of unpopularity in contemporary country music.
This is Country Music—and They Do
The interaction between artists and fans, as staged in the live performance
in the video to Rucker’s ‘Wagon Wheel’, is an important part of country
music but also of unpopular culture more broadly understood. As the editors
of this volume state in their introduction: ‘The study of unpopular culture,
then, is also the study of audiences, and it tends to be concerned more
with the reception of cultural artifacts than with their production, since
unpopularity presupposes an audience’ (26). What is important about this
definition is that production and reception need to be considered together
when talking about unpopular culture, as unpopularity is neither detect-
able in the music per se—just as music’s ‘badness’ as defined by Fox is not
an objectively measurable quality, or lack thereof, in the music—nor is it
something that resides solely with the recipients of the music and thus the
audience (or the people refusing to listen to it). Country music consciously
encodes unpopularity into its music, i.e. produces deliberately unpopular
music, and its audience willingly embraces this unpopularity. That is to
say, performers and fans of country music conspire to create unpopular
identities that find expression in the music. In the words of the second
verse of Paisley’s ‘This Is Country Music’ (2010): ‘It ain’t hip to sing about
tractors, trucks, little towns, and mama’. Here, the song pretends to take
on the metronormative point of view that these, indeed, are topics unfit
for popular culture, only to respond by proudly rejecting its validity; in a
word (or three): ‘This is country music—and we do!’ In this song, the ‘we’
of country music defiantly celebrates its own ‘abject badness’ (Fox) and the
proud unpopularity that the metronormative gaze ascribes to it.
Drawing on Frith’s work on the function of popular music, Hubbs argues:
‘Country music thus performs a type of cultural work that is performed
by popular music generally. It models subjectivity in forms relevant to its
listeners’ (103). Yet, country music also differs from other popular music,
Hubbs claims, in that it ‘treats real-life themes of hard times, including
facing serious illness and facing death’ (103). And, indeed, Paisley’s ‘This
Is Country Music’ is an excellent example of the ways in which country

music proudly claims unpopular topics and establishes itself as a collabora-
tive project of both producers and recipients. In the lyrics of the song we
encounter country music’s insistence on doing things differently, as the
second verse explicitly states: ‘It ain’t hip to sing about tractors, trucks
/ Little towns and mama, / Yeah that might be true / But this is country
music and we do’. The lyrics defy popular (‘hip’) tastes as does the song’s
instrumentation, in which the plucking of a banjo carries the melody. As
the banjo sonically represents a rural, pre-modern, old-fashioned identity,
it underlines country’s otherness and thereby instruments country music’s
resistance to modern popularity. While a fiddle provides the harmonies
over a whining pedal steel guitar in the background in the first verse, a
fairly modern electric guitar picks up the song in the second verse, in a
seamless juxtaposition of modern and traditional, popular and unpopular
musical elements to exemplify the ways in which country music is both
similar to and different from popular music. Country music’s proud ‘We
do’ serves as a rallying cry for the country community shouted into the
face of popular music as a self-conscious form of othering, in which the ‘we’
sets itself in direct opposition to the implied popularity of ‘them’. Insisting
on its difference from popular culture, Paisley’s country music celebrates
its own tackiness and stoutly defends its usage of decidedly unpopular
themes. Moreover, the chorus consciously refutes any distinction between
the real world outside and the potentially artificial diegetic world of the
song as it folds its listeners and its singer into one shared authentic country
universe. Directly addressing the audience with ‘you’ throughout the song,
the chorus explicitly states that ‘This is real, this is your life in a song / Yeah,
this is country music’. In short, not only does the song embrace country
music’s unpopularity by singing about unpopular themes such as ‘cancer’,
‘Jesus’, and the ‘little towns’ in which Lambert is so famous; no, it also
claims that the deictic ‘this’ of country music is the authentic life-world of
both performers and fans as they inhabit the unpopular realm of authentic
country life together—as a ‘we’.15
Clearly, this unpopularity is celebrated as a badge that needs to be earned
and that is to be found in the nexus between production and reception,
residing in neither sphere exclusively. Given country music’s insistence on
authenticity, it is not surprising to see how closely both artists and fans
patrol the borders of what—and who—may count as authentic country
music. This is why it is so important for any artist to establish their bona
fide country credentials, and it also explains why Paisley’s ‘This Is Country
Music’ ends by namechecking a list of legendary country songs into whose
footsteps the song quite ambitiously steps. In its extended play-out, the song
reiterates the authentic strength of country music by juxtaposing its titular
phrase ‘This is Country Music’ with song titles such as ‘Hello, Darling’, ‘He
Stopped Loving Her Today’, or ‘Stand By Your Man’. The song never bothers
to mention the names of the artists as the fans will know who they are—
Conway Twitty, George Jones, and Tammy Wynette, respectively—and why
their simple reference is enough to tap into the lineage of authentic country
music. As Aaron Fox has convincingly argued, ‘the standard of authenticity
to which country is consequently held is […] the historicized essence of ‘real’
country music—an originary badness, always receding into the nostalgic
mists of a preceding generation of stars and consumers’ (44). The ‘real’ thing
into which contemporary country music thus taps is not a real to be found
in the world outside, an existing way of life, as Fox importantly reminds us.
Rather, it is an artistic discourse that creates the impression of realness by
invoking the proud history of the music and the South, relishing a nostalgic
version of the past that never was as unproblematic as these reminiscences
imply. Country music is real and authentic because it sounds like the music
that has come to be accepted as an authentic expression of the real, and
the country community is proud of this unpopularity even if—or perhaps
because—it is deemed deviant from a metronormative perspective.
Conclusion
The ‘wheelhouse’ of much of country music is the very tackiness of its

‘Southern Comfort Zone’, the ‘Wagon Wheel’ of Rucker’s ‘Southern State
of Mind’, or Lambert’s small-town popularity. More precisely, country
music is not only located in this liminal space but it has built a comfortable
nesting spot in this position as a more ‘real’ alternative to the bland pop
mainstream. Unfortunately, there is more to this unpopularity than just a
stubborn refusal to be streamlined. As many critics, such as Pamela Fox or
Geoff Mann have pointed out, country is a thoroughly white musical genre.
This is not because of a lack of ‘black’ or non-white influences but, on the
contrary, because it constructs and re-inscribes a certain notion of implicit
whiteness that is not only unpopular but, at times, deeply racist. Therefore,
the unpopularity of country music is more than a simple unwillingness
to leave one’s Southern comfort zone. It also entails a refusal to take on
the admittedly complicated task of honestly dealing with its own (histori-
cal) constructions of whiteness. Part of country’s unpopularity, as I have
argued, lies in the music’s Southern pride and the concomitant politics of
whiteness, despite the presence of African American fans and perform-

ers, such as Darius Rucker. Viewed from a different angle, this self-image
of country music as an unpopular minority entirely silences these much
more uncomfortable racial politics of country music, which more or less
whitewash country music and disregard the problematic aspect of proudly
embracing a redneck identity with all of history’s baggage.16 That is to say,
the music embraces a notion of authenticity that is not only unpopular but,
in fact, highly politically incorrect and, at times, blatantly racist.
‘Accidental Racist’, Brad Paisley’s hotly debated yet rightfully unpopu-
lar collaboration with hip-hop artist LL Cool J, is one of the few cases in
which country music explicitly deals with racial issues. Its good intentions
notwithstanding, the song is an awkward attempt to come to terms with
the ‘accidental racism’ that is part and parcel of so much of American life
and country music; or, as the first verse of the song phrases it: ‘The red
[Confederate] flag on my chest somehow is like the elephant in the corner
of the south’. By ‘walk[ing the elephant] right in the room’, the song attempts
to free Southern culture and country music from its historical baggage and
to return to a nostalgic past back when it was okay proudly to embrace
Southern identity and the unpopularity it entails. The song’s lyrical I is
a proud Southerner who insists on the necessity to start talking to one
another about the uncomfortable effects of the intricate racial histories of
the South, even though ‘you and me can[‘t] re-write history’. In the song’s
final verse and chorus, Paisley and LL Cool J have a sincere dialogue, in
which the former’s country singing and the latter’s rapping manage to
overcome the past and, despite their statement to the contrary, attempt to
‘rewrite history’.17 Lyrically, the song is a horrible failure in that it compares
black people’s ‘do-rags’ to the white man’s ‘red flag’ (the Confederate Flag)
and, even more outrageously, compares hip-hop’s ‘gold chains’ to slavery’s
‘iron chains’. Adding insult to injury, the song ends by proudly embracing
the ‘Southern pride’ free of the so-called ‘Southern blame’ that accompa-
nied it in the first iterations of the chorus and thus quite self-consciously
inhabits a highly unpopular, abject, Southern point of view ‘where all that’s
left is southern pride’.18 At long last, country music can stake a claim in
the unpopular realm of ‘Dixie’, the sounds of which permeate Paisley’s
entire album Wheelhouse—both Dixie as country music’s metaphorical
‘wheelhouse’ and the song ‘Dixie’. Here, it becomes clear why country is at
the same time the music of the common people (and thus of quite a lot of
folks) and so unpopular, out of time, and embarrassing to many other people
(yours truly, at least sometimes, included): as it embraces the identity of
supposedly authentic Southern, redneck identity, country music creates an
image that is well-nigh impossible to be proud of for quite a large number of

people. Possibly, a country song by definition cannot achieve what Paisley
presumably wanted it to: that is, to go beyond the tightly drawn racial scripts
of country music because it is so deeply enmeshed in its own unpopular
re-production of whiteness as its default condition (cf. Mann; Fox).
In the end, country music has to be a bit corny, a tad folksy, and above all
authentic. Paisley’s Southern comfort zone and Lambert’s small town are
the spaces in which this unpopular culture unfolds. And there is nothing
wrong with only being famous in such a small town as long as this proud
embrace of the genre’s unpopularity does not entail clinging to a simplistic
historical account of how its own whiteness was made. In that case it might
be better if the music remained, indeed, truly unpopular and thus known
only in a very, very small town.
Notes
1. Many thanks to Martin Lüthe und Sascha Pöhlmann for their insightful sug-
gestions on an earlier draft of this essay.
2. Simply by using their real names, most country stars mark their difference
from the artificiality of pop stars such as Madonna or Lady Gaga. The Ger-
man term Künstlername perhaps best expresses the ambiguity of taking
on a persona: the term literally means ‘artist name’, thus naturalizing the
artificiality of choosing a pseudonym rather than one’s real name for the
purpose of performing an artistic identity. For an important analysis of the
ways in which ‘the folk’ and folklore are often read as authentic products
rather than constructions themselves, cf. Bendix.
3. A long list of indicators could be used to document the increasing cross-
over success of country artists, such as ABC’s screening of a three-hour
prime-time broadcast of the CMA Music Festival on 5 August 2014 (cf.
Hudak) or the recent hype about so-called ‘bro-country’ on the general pop
charts (cf. Dauphin and my critical discussion of the latter in ‘All Kinds of
(Queer) Rednecks’).
4. This recent (re-)popularization of Southern culture is, of course, nothing re-
ally new given that Southern music has shaped American (popular) music
throughout its history; as its preeminent historian Bill Malone has argued,
the South ‘was the land that gave rise to virtually every form of American
popular music’ (Southern Music 4).
5. To give just two examples out of a very small number of studies available:
Covach’s essay on ‘unpopular musicology’ only uses the term in its catchy
title and never discusses the term’s wider implications, whereas the editors
of The Popular Music Studies Reader limit discussion of unpopularity in
their introduction to a short aside on ‘live opera’ as a ‘defiantly unpopular’

form of entertainment, ‘in both economic and cultural terms’ (3).
6. To give just two examples for the general dislike of and hate toward country
music: Aaron Fox has pointed out that country music is the only musical
genre that is often negatively referenced in personal ads in newspapers
(cf. Fox 44). In ‘Anything But Country’, the first chapter of her Rednecks,
Queers & Country Music (23–50), Hubbs discusses the phenomenon that so
many people feel the need to distance themselves from country music—
or, rather, not from the music per se but from country music ‘as a cultural
category and brand’ (23).
7. In Frith’s much better formulation: ‘Authenticity […] is a quality not of the
music as such […], but of the story it’s heard to tell’ (‘Music’ 124).
8. Thus Paisley continues the long tradition of country music’s ‘singing cow-
boys’: dressed in ‘ersatz cowboy costume’ this figure ‘had won the day in
country music’ by the time Hank Williams and Hank Snow appeared in the
1950s (Malone, Singing Cowboys 99).
9. Given that Rucker, as of 2014, is the only major African American country
artist with any semblance of mainstream success, this notion of being a
minority takes on another layer of meaning—to which I will return in my
conclusion.
10. Perhaps not surprisingly, both songs were co-written by Chris DuBois,
which may explain the repeated use of the exact same phrase in different
songs.
11. The song is a cover version of the 2004 underground smash hit by the string
band Old Crow Medicine Show, who, in turn, had written this song based on
snippets of a song written by Bob Dylan in 1973. While the Old Crow version
already had become something of a Southern popular phenomenon—their
song never hit the charts until Rucker’s version was released but could be
heard around campfires, tailgates, and college parties all over the American
South—, Rucker exploded the popularity of this song, taking it not only to
the top of the country charts but also reaching the top 20 on the Billboard
Hot 100 (cf. ‘Darius Rucker’).
12. There is a certain irony in this line, considering that Rucker, sole successful
black country artist, sings about running to—rather than fleeing from—the
South to gain his freedom.
13. Like almost no other on-screen personalities, the Robertsons of Duck Dy-
nasty-fame stand for a Southern unpopular way of life that resists the pace
of modernity and of artificial popular culture against which their staged
authentic lifestyle is set. Not only have they been met with TV success; they
have also made strong in-roads into the country music industry in recent
years. They have recorded a CD of country Christmas songs, on which they
collaborate with country superstars such as George Strait, Alison Krauss,
and Luke Bryan, appeared at the 2013 CMA awards, and have starred in
Tyler Farr’s video to ‘Redneck Crazy’ (2013). In all of these, the Robertsons
epitomize the figure of the redneck, a central—truly unpopular—trope in

much recent country music (cf. my ‘All Kinds’).
14. This ending creates the impression of authentic live music. In a discussion
of the history of country music videos, Fenster has analyzed this device
under the heading of the ‘performance/concept combination’ (Fenster
116). Cf. also Auslander’s argument that the music video ‘has usurped live
performance’s authenticating function’ (105). In ‘All Kinds of Kinds’ I briefly
address the community-constructing function of such intradiegetic live per-
formances as a form of country music’s political unconscious.
15. In this respect, it is a clever choice that Paisley did not produce a music
video for this single but simply used a live performance from the 2010 CMA
awards, at the beginning of which he thanks the fans for his Entertainer of
the Year Award.
16. As Berndt Ostendorf so helpfully pointed out in his response to this paper:
there seems to be a ‘masochistic celebration of a wound’ (Munich, 30 Oc-
tober 2013) at play in many nostalgic distortions of the past in American
culture, an example of which can be found in country music’s embrace of
the Southern past.
17. As many commentators have pointed out there are two main objections
to this set-up: first, Paisley is using one black popular artist as a straw-man
to absolve the South and country music of their historical mistakes and
problematic silences. Second, the particular artist that he chooses has never
been known for his political outspokenness (as opposed to, say, Mos Def
or Public Enemy); moreover, LL Cool J, by now, is not even perceived as a
musician anymore but much more widely known as an actor in the popular
police procedural NCIS: Los Angeles. Paisley’s choice of him as the spokes-
person for black people, thus, is viewed as misleading at best and dishonest
at worst (cf. Coates).
18. I am not alone among critical audiences of the song to be irritated by Pais-
ley’s choice of the words ‘Southern blame’ in the chorus, thus singing about
an assignation of blame from outside rather than about an honest confes-
sion of guilt (shame). Thanks to Heike Paul for pointing this out to me.
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Making Christianity Cool
Christian Pop Music’s Quest for Popularity
Bärbel Harju
‘Can’t you see? You’re not making Christianity better, you’re making rock and
roll worse!’ Hank Hill’s assessment of Christian rock music in the episode
‘Reborn to Be Wild’ of the animated sitcom King of the Hill corresponds with
much of the mainstream media’s perception of this phenomenon.1 A Seinfeld
episode, ‘The Burning’, also illustrates the poor reputation of Christian pop.
Upon learning that her boyfriend listens to Christian rock music, Elaine
voices concern about his taste in music, but her friend George disagrees:
‘I like Christian rock. It’s very positive. It’s not like those real musicians
who think they’re so cool and hip’. George’s endorsement backfires, of
course, as he clearly makes a distinction between ‘real’, ‘cool’, ‘hip’ artists
and Christian rock musicians.
Christian pop’s reputation as ‘the least fashionable music on earth’ (Beau-
jon 6) is not limited to mainstream media and pop culture. When I began
researching Christian pop music, I soon found out that this musical genre is
quite unpopular as an academic topic. The amount of scholarly work on the
subject pales next to the books and articles on more popular musical genres
such as hip-hop and punk, gospel and folk music, and in fact most histories
of popular music almost ignore the phenomenon altogether.2 The reactions
of most colleagues when I disclosed my area of research to them ranged
from amusement and skepticism to utter incomprehension as to what the
motives for studying Christian rock might be. Claire Fisher’s comment on
the TV show Six Feet Under when she finds out that her boyfriend listens
to Christian rock captures how most people feel about this topic: ‘Oh my
god, you may just be the most deeply unhip person I have ever met’ (qtd. in
Beaujon 6). Its negative connotations notwithstanding, Christian pop music,
its cultural ramifications and contradictions, had captivated my attention:
anything this unpopular, I supposed, was certainly worth exploring.
Making Christianity cool is a challenge. The term ‘Christian pop music’,
to many, has an almost oxymoronic ring to it.3 Often ridiculed, marginalized
or dismissed as unauthentic, uncool, irrelevant, and unhip, the concept of
evangelical pop and rock music appears to be too far removed from the
infamous triumvirate of drugs, and rock and roll. Since its inception in
the late 1960s, Christian pop music has been a contested genre, generating
170 Bärbel Har ju
criticism from all sides. The development and transformations of the

genre correspond with the changing attitudes of its critics. This essay ana-
lyzes Christian pop music’s shifting engagement with ‘secular’ society and
mainstream pop culture since the late 1960s. An examination of its (self-)
perception as unpopular and its continuous struggle with the mechanisms,
values, and demands of pop culture also sheds light on American culture at
large. Christian pop music’s search for popularity derives from complex and
often conflicting agendas. Situated between religion, commerce, and music,
this quintessentially American phenomenon is not a fringe phenomenon,
but it provides insight into America evangelicalism as well as the larger
culture. Its attempts to join the mainstream can be seen as part of the
broader evangelical movement and its strategic embrace of popular culture.
Christian pop should be understood as part and parcel within the
framework of American evangelicalism that has always operated success-
fully in the marketplace of culture. 4 As historian Robert Laurence Moore
convincingly argues, its employment of marketing techniques and the quick
adaptation of media innovations and popular trends helped evangelicalism
to stay ‘lively and relevant to national life by reflecting popular taste and
commanding media coverage’ (275).5 Assertive self-commodification has
allowed evangelicals to spread their message in the most contemporary
way while reaching out to non-believers and remaining culturally relevant.
The emulation of mainstream cultural practices attests to its flexibility in
terms of cultural adaption, it is important to note, however, that there has
been a ‘tradition of dissent’, a ‘sense of dispossession from, and antagonism
toward, dominant culture’ (Luhr 107). Taking into account the conflicted
relationship between American evangelicalism and the larger culture, I will
show how Christian pop has struggled with all three: notions of popularity,
mainstream culture, and its critics.
Contrary to the widespread dismissal of Christian pop as uncool and
unpopular, the genre is firmly rooted in American popular culture. Chris-
tian pop has found its niche in the marketplace of culture as part of a huge
Christian, largely evangelical, billion-dollar-a-year-entertainment industry
(Ali). With several big music festivals, a large number of record labels, award
shows, radio stations and magazines, Christian pop music has been one
of the fastest growing genres of music in the U.S. during the past 20 years.
Its records outsell those of jazz and classical music combined with a 7%
share of overall music sales in the U.S. in 2001 (Ali).6 Despite its commercial
success, however, Christian pop often fails to register with the mainstream
music culture, which is either completely apathetic towards it or consid-
ers it a rather marginal phenomenon with only limited cultural impact.
Making Christianit y Cool 171
Its popularity, measured in terms of commercial success and number of

consumers, comes along with an astounding critical unpopularity.
This critical unpopularity of the genre has not been coherent or mono-
lithic. In fact, Christian pop music has been criticized for many reasons
from both within and outside of the evangelical community. Some of the
charges leveled against the genre from mainstream critics include, but
are not limited to, the following: the alleged poor quality of the music
both artistically and production-wise; ‘bad’, agenda-driven songwriting
oscillating between happy-clappy Christianity and turn-or-burn rhetoric;
the perceived lack of authenticity due to a disconnect between musical
style and lyrical content (a favorite target here is Christian black metal
music); a certain uneasiness relating to the financial exploitation of faith;
the ‘sneaky’ employment of pop music as a tool for either evangelization
or the promotion of (sometimes equally unpopular) right-wing politics.7
The criticism of Christian pop music by evangelicals is equally diverse:
the allegation that rock music itself is inherently bad or ‘of the devil’—a
concern frequently expressed by televangelists during the culture wars of
the 1970s and 1980s; commercialization and ‘selling Jesus’ as an ungodly
practice—spreading the gospel should be a ministry, not a business; the
‘sell-out’ accusation: Christian pop music emulates the secular world and
therefore falls prey to its values, succumbing to commercialism and star
cult; bands employing subtle lyrics are accused of watering down their mes-
sage; and finally, others argue for the dismissal of Christian pop as a genre
altogether, claiming they are ‘Christian by faith, not by genre’ (Kirk Miller
36) and refusing to be pigeonholed by their association with evangelicalism
and the stigma that is attached to it.
In his essay ‘What is Bad Music?’ popular music scholar Simon Frith
stresses the shape-shifting and constructed nature of ‘bad music’ as a con-
cept and its necessity for musical aesthetics (cf. 19).8 Judgments of music,
Frith points out, are sociological rather than musical, criticizing the ‘social
institutions or social behavior for which the music simply acts as a sign’ (20).
While a lack of authenticity is the most common allegation, explanations
often focus on production-related charges, the supposedly formulaic nature
of a musical product, the prioritizing of marketing as opposed to artistic
decisions, or the derivative (as opposed to original), standardized (as op-
posed to individual) production of music (cf. Frith 22–28). The multi-faceted
criticisms of Christian pop illustrate that the identity of the listener is key to
aesthetic and ethical judgments of music. Depending on who is listening to
it, a song could be considered too preachy or not preachy enough. Negative
stereotypes invoked in the mainstream media may thus say more about pop
172 Bärbel Har ju
culture at large than about Christian pop music. Audiences respond to the
genre based on musical and cultural knowledge and expectation. The value
judgments listed above are equally ethical, musical and heavily dependent
on the identity of the listener (cf. Frith 33). The evolution of Christian pop
music and its critics not only sheds light on the interfaces of music, com-
mercialism, and evangelical Christianity, but also on the complex cultural
mechanisms that produce and construct this genre’s (un)popularity.
A Parallel Universe? Cultural Warriors and the

Commercialization of Christian Pop
The counterculture of the Sixties is widely recognized as the birthplace

of Christian pop music. Members of the Jesus People Movement—hippie-
inspired born-again Christians—committed an act of rebellion when they
adapted contemporary rock, pop, and folk music to spread the gospel.9
Refuting the sacred hymns and gospel songs found in churches, young
Jesus Freaks took to the streets and claimed rock music ‘to make a joyful
noise for the Lord’ (Diamond 48). As a ‘counterculture within a counter-
culture’ (Romanowski 61), this mass youth movement opposed not only
the hedonistic culture of their day but also rejected established churches.
They founded their own parachurch organizations and groups catering to
hippie sensibilities and countercultural appearances and practices.10 Their
rallying cry was coined by Larry Norman, one of the pioneering Jesus Rock
musicians, who famously asked in his 1972 hit song: ‘Why should the devil
have all the good music?’ The Jesus Freaks’ primary goal was to reach their
generation’s lost souls through rock music with straightforward, simplistic
Christian lyrics. Although it gained momentum among the spiritually seek-
ing youth, conservative evangelical leaders questioned the viability of rock
music as a tool for evangelization, suspecting a depreciation of the message
(cf. Plowman 32).11
The initial popularity of Jesus Rock at the time of the Hippie movement,
however, quickly vanished. Harsh criticism was sparked during the 1970s
and 1980s, when the movement and its music became increasingly com-
mercialized—co-opted and exploited by more conservative forces and
mainstream evangelical organizations.12 Christian pop grew into a full-
fledged industry that emulated the musical styles and business models of
the mainstream: record labels, magazines, award shows, and radio stations
were founded, but the newly created parallel universe lagged behind the
mainstream’s standards of production, distribution, and marketing. The
relative mediocrity of evangelical cultural production was not only noted

by mainstream critics, evangelicals too criticized the retreat into a closed-
off subculture with ‘inbred artists […] rewarded by those who populate
this little ghetto’ (Schaeffer 46), unaware of broader cultural currents and
movements. Though evangelization remained part of the rhetoric, Christian
pop music was almost exclusively sold in Christian bookstores, played on
Christian radio stations and performed in Christian venues: ‘Designed
to reach the lost, the music was being heard by the found’ (Howard and
Streck 71).
Christian pop artists did not create new sounds; innovation and creativity
were largely surrendered to mainstream artists. Christian singers and bands
simply added distinctly Christian lyrics to existing popular musical styles
from new wave and metal to punk, rock, and pop. Disregarding its cultural
roots and social implications, they considered music a neutral vehicle to
convey the evangelistic message. Aside from the obviously derivative nature
of the music, the result was often a certain disconnect between the music
and the lyrics, ‘a curiously rootless sort of music’ (Flake 182). Authenticity,
allegedly an important ingredient of art, was glaringly missing from this
sanitized version of pop music.
Meanwhile, Christian pop music culture indulged in self-flagellation
and tore itself up about questions concerning the nature of their enterprise,
as Christian radio DJ Paul Baker remembers: ‘Is the music a ministry, or is
it entertainment? Can it be both? Should there be such a thing as Chris-
tian entertainment? How far was too far in becoming like the pop-music
industry?’ (133) Artists questioned their roles in the conflicting spheres of
business and ministry, but no one matched the commitment of singer Keith
Green. Convinced that ‘ministry of any kind should be free’ (Green 233),
Green announced to withdraw from the commercial side of Christian pop
and began to give his albums away for free. Since none of his peers followed
suit, Green’s attempt to ‘un-commercialize’ the gospel (Green 230) could
not resolve the conflict between ministry and economics. This long-lasting
identity crisis was only gradually overcome in the 1990s.13
Contemporary Christian Music (CCM), as the genre was called by the mid-
1970s, was undeniably far removed from rock’n’roll rebellion. The rigid codes
of moral conduct of evangelical Christianity contributed to an atmosphere
that stifled creativity and smothered artistic experimentation. Songs and
singers were scrutinized by unforgiving audiences and record companies,
who routinely included morality clauses in their record contracts with
artists to ensure Christian behavior (cf. Dawidoff 43). Gatekeepers—espe-
cially Christian bookstores, where most of the music was sold—and radio
174 Bärbel Har ju
stations only promoted morally acceptable music that explicitly represented

evangelical values, sometimes counting the ‘jpm’ (Jesuses per minute), as
opposed to the bpm (beats per minute). The consumption of alcohol, the use
of swearwords or the sporting of even a mildly sexy outfit could legitimately
end or stifle careers in the Christian market. ‘Safe for the whole family’,
the governing principle for Christian entertainment, created a bad image
that looms large in the popular imagination of Christian pop until today.
The South Park episode ‘Christian Rock Hard’ that first aired in 2003
perfectly illustrates this negative image. Cartman bets Kyle that he can
make a platinum record before him, and he identifies Christian rock as the
quickest way to fame and fortune: ‘Think about it! It’s the easiest crappiest
music in the world, right? If we just play songs about how much we love
Jesus, all the Christians will buy our crap’. This alludes to the common—and
quite plausible—impression that ‘the Christian audience had a higher
toleration for crap music’, as Christian rock singer Steve Taylor explained
in a personal interview. As long as it came ‘coupled with a good message’
(Taylor), believers seemed to embrace it. Author and industry insider John J.
Thompson notes that ‘by the mid-1980s, the Christian pop scene had become
a machine that could sell a certain amount of everything, regardless of
quality. […] The result was waves of awful Christian pop records’ (89). South
Park’s satirizing of the songwriting process for a Christian pop song also
refers to the lack of authenticity due to the music’s derivative, un-artistic
production. As Cartman explains: ‘All we have to do to make Christian
songs is take regular old songs and add Jesus stuff to them. See? All we
have to do is cross out words like ‘baby’ and ‘darling’ and replace them with
“Jesus”’. The aforementioned disconnect between lyrics and music becomes
obvious, when Cartman replaces certain lyrics to boost the jpm-factor,
thereby implying a romantic relationship with Jesus:
Don’t ever leave me, Jesus, I couldn’t stand to see you go.
My heart would simply snap, my Lord, if you walked on out that door.
I promise I’ll be good to you and keep you warm at night.
Jesus, Jesus, Jesus, why don’t you just shut off the lights.
South Park mocks the way Christian record companies try to exert moral
control over their artists. When the CEO of the fictional Faith Records
comments on some of the lyrics before signing the band, he quips: ‘It appears
you are actually in love with Christ’. The conflict between ministry and
business is poignantly captured as the record company executive assures
that they would ‘just like to make sure the bands we sign are in it for God,
and not for the money’. He then prods them to just ‘sign here and we’ll get
your album sold’. South Park’s portrayal of Christian pop music is predicated
on the genre’s negative image that goes back to the 1980s: a commercialized,
both musically and lyrically unsophisticated, one-dimensional emulation of
secular pop songs, sometimes dubbed as ‘Christian cotton candy’ (Menconi
20).
This depiction of tame, happy-clappy Christian music is one version
of evangelical popular music during the 1980s. Artists like Amy Grant
became huge commercial hits—and even had some crossover success in
the mainstream—with sweet melodies and simplistic lyrics that did not dig
very deep theologically. At the same time, though, there existed another,
more aggressive type of Christian rock that was deeply entangled with
and influenced by the culture wars raging during the 1980s. Conservative
evangelicals had been heavily politicized and rallied around organizations
of the New Religious Right like Jerry Falwell’s ‘Moral Majority’. The rhetoric
of political debates and televangelist broadcasts was boasting, replete with
militaristic and triumphalist imagery. The framing of conflicts as war, the
emphasis of clearly opposing categories like ‘right’ and ‘wrong’, ‘good’ and
‘evil’, ‘us’ versus ‘them’ are staples in Christian pop music culture during
the 1980s.14 Christian pop music increasingly became associated with the
Christian Right and evoked images of self-righteous, greedy, f ire-and-
brimstone televangelists and politicians with aggressive political stances
towards abortion, pre-marital sex, and same-sex marriage.
Petra is a case in point. One of the most successful Christian rock bands
of the 1980s, they sold out huge secular venues with their arena rock. Songs
like ‘The Battle Belongs to the Lord’ and ‘Armed and Dangerous’ identified
the secular world as the enemy and positioned Petra as relentless Christian
warriors. Their stage outfits resembled combat gear, and they opened their
shows with the hymn ‘Onward Christian Soldier’ (Powell, ‘Petra’). ‘This
Means War!’ illustrates how the band unabashedly interspersed triumphal-
ist rhetoric with military imagery:
This means war! And the battle’s still raging.

War—and though both sides are waging
The victor is sure and the victory secure,
But till judgment day we all must endure.
Their display of triumphalism and spiritual warfare appealed to the evan-

gelical audience but never succeeded in the mainstream market, nor was it
intended to do so. The ‘world’ is clearly the opponent, as singer Bob Hartman
176 Bärbel Har ju
explained: ‘We know our music is aimed at the church. […] [The album
This Means War!] deals with all three areas of our spiritual warfare. As
Christians, our enemies are the world, the flesh, and the devil. The songs on
This Means War! deal with one of those three issues and talk about spiritual
warfare’ (Newcomb 99).15 The closing of ranks with the New Religious Right
manifested itself not only in imagery and rhetoric, but also in Petra’s support
of conservative politics, for example their promotion of a constitutional
amendment allowing prayers in public schools (cf. Powell, ‘Petra’).
If mainstream critics took any notice of it at all, they dismissed the music
as ‘mediocre stuff, diluted by hesitation and dogmatic formula, inferior
to the mainstream popular music it emulates’ (Dawidoff).16 The rejection
by mainstream audiences and critics allowed—and continues to allow—
Christian pop bands to tap into a traditional trope among U.S. evangelicals,
namely narratives surrounding its ‘persecution complex’ (Joseph 181). The
perceived dispossession and rejection by the mainstream enables artists to
position themselves as ‘rock’s real rebels’ (Kevin Miller 90) and articulate
their unpopularity in positive terms based on Jesus’ persecution due to his
countercultural stance. Mark Stuart, singer of Audio Adrenaline, elaborates
on the idea of Christian rebellion in the face of adverse circumstances: ‘I
think rebellion and Christianity go together […]. Singing about sex and
drugs is the easiest thing to do. It’s old by now. So pretty much the most
rebellious rock-and-roll person you can be is a Christian-rock frontman
because you get people from every side trying to shut you down’ (Ali 43).
The framing of mainstream culture in terms of conformity to a godless value
system emphasizes Christian pop’s claim to its potential as a subversive
force that questions or undermines dominant ideology.17
The extent to which this potential was achieved during the 1980s remains
disputable. Christian teenagers embraced ‘cool’ Christian bands like Petra,
but conservative evangelists like Jimmy Swaggart publicly denounced the
music while the mainstream was largely unresponsive. Internal struggles
with notions of commercialized ministry and religious entertainment
continued to plague the evangelical music industry. Overall, Christian pop
became a deeply conflicted, self-contained subculture, predicated on its
opposition to an allegedly corrupt ‘secular’ mainstream culture. By adapting
and ‘Christianizing’ secular musical styles, Christian pop provided music for
the converted, a safe and healthy alternative for the Christian youth, not a
vehicle to ‘save lost souls’. Christian pop culture turned into ‘a cultural ghetto,
frequently ridiculed and easily avoided’ (Powell, ‘Jesus’) that had little—if
any—traction beyond its boundaries. This era shaped the image of Christian
pop as second-rate, a ‘pale imitation of the real thing’ (Howard and Streck 35).
Christian by Faith, not by Genre: Embracing the Mainstream
Since the early 1990s, however, Christian pop music has been on a quest
for popularity, ‘hipping itself for the approaching millennium’ (Ali). The
professionalization of the genre was spurred by secular media conglomer-
ates’ acquisition of Christian record labels. Companies like BMG and EMI
identified American evangelicals as a profitable segment for the entertain-
ment industry and noticed the monetary gain to be made with Christian
pop music. Backed by these corporations, the production, distribution and
marketing mechanisms for Christian pop improved drastically and could
now match the mainstream market’s standards. No longer dependent on
conservative, volatile Christian book stores, the music is now available at
secular outlets and garners considerable crossover success with many artists
generating sales in both the Christian and the mainstream market.18 This
transformation and reframing of Christian pop music came along with hip
appearances, subtle lyrics and a new openness towards non-believers. The
rhetoric of the culture war gave way to subtle, more marketable terminology.
In a Newsweek article in 2001, Lorraine Ali described Christian pop music
as the ‘hottest genre in the entire music industry’, quoting recent sales
figures that added up to ‘747 million Dollars in records sales last year—7
percent of the overall sales in the American music industry’. Similar to
country music, Christian pop has carved out a lucrative niche for itself in
the highly competitive cultural marketplace. The music allows evangelicals
to participate in a wholesome version of popular culture without feeling
that they have to make sacrifices in terms of quality and coolness.
Not satisfied with the niche status as part of the evangelical subculture,
however, a growing number of Christian artists have been reaching out to
a broader audience by attempting to abandon the label ‘Christian’—and
the stigma that is attached to it—altogether. Bands like P.O.D., SixPen-
ceNonetheRicher, The Fray, Creed and many others have left the parallel
universe of Christian pop music behind to explore other ways of articulating
the gospel. Presenting a ‘modern version of evangelism that uses a new
language, a new discursive style’ (Hendershot 54), their musical message
is more subtle and toned down. Decoding and interpreting the meaning
of their songs requires an active role on the part of the listener. The lyrics
avoid ‘bible-thumping’ and ‘turn-or-burn’ rhetoric and are characterized by
ambiguity, offering a vaguely Christian perspective based on love, forgive-
ness, responsibility, and social equality. The names of Jesus or God are never
explicitly mentioned, and often substituted with the more embracing ‘you’.
The implication that the song might be addressing a loved-one earned them
178 Bärbel Har ju
the name ‘God-as-a-girlfriend-song’—a reverse strategy from the 1980s

jpm count alluded to in the above-mentioned South Park episode. These
artists succeeded within the framework of the mainstream music culture
without completely abandoning religious undertones—by quietly sharing
their worldview without reverting to preaching.
Christian pop artists’ embrace of the mainstream coincided with changes
in evangelical culture overall: while many evangelicals were still ‘suspicious
of mainstream culture and the cultural elite’, those in positions of cultural
and social leadership actively ‘distance[d] themselves from the movement’s
subculture’ that they describe as ‘“gross”, “cheesy”, and “anemic”’ (Lindsay
121, 123). The unpopularity of evangelicalism, their image as ruthless cultural
warriors and greedy, hypocritical televangelists required the adoption of
new strategies. Efforts to embrace the mainstream are manifest in the
upsurge of so-called seeker churches since the 1990s that catered to non-
Christian ‘spiritual seekers’ and their consumerist sensibilities (cf. Sargeant
146).19 While seeker sensitivity is predicated on clever marketing techniques
and a contemporary presentation of the gospel, the so-called emerging
church, another trend among American evangelicals that began in the
1990s, aims to reconcile postmodern culture and Christian sensibilities
by discarding absolute truth claims and embracing doubt, insecurity and
flaws while focusing more on social equality and justice. 20 Evangelical
cultural production reflected these trends. Instead of preaching to ‘unsaved’
people with straightforward Christian messages, this new generation of
artists relied on ‘seed-planting’ and pre-evangelism tactics: ‘The new
evangelical quietly “shared” with “searchers” rather than preaching hellfire
and damnation from a pulpit’ (Hendershot 61). The focus has shifted from
overemphasizing the artists’ lyrics and lifestyle to focusing more on artistic
integrity and excellence—which many evangelicals cultural leaders now
understood to be a prerequisite for cutting edge cultural products and
mainstream acclaim.
The new brand of Christian pop music succeeded with mainstream
audiences, and their quest for popularity is now making progress. Key to
mainstream acceptance is the avoidance of any overt association with the
evangelical subculture. Jason Wade, lead singer of the band Lifehouse, tried
to steer clear of the stigma that is attached to Christian pop: ‘My music
is spiritually based, but we don’t want to be labeled as a Christian band,
because people’s walls come up and they won’t listen to your music and what
you have to say’ (Wild 45). The rock band Creed has successfully appealed
to the music industry by shunning the Christian music subculture, as one
observer notes:
Whenever anyone asks Creed if they’re Christian, they say: ‘No, but we’re
searching’. It’s obvious that they’ve either done their homework very well
or they have some sort of a Christian foundation in their background.
[…] It’s great that they’re careful, with the way the world is today, the
way popular culture and the people they’re trying to sell records to are.
Creed’s not ostracizing themselves by communicating that they’ve found
all the answers. (Jonathan Richter qtd. in Hendershot 59)
Switchfoot, another example of the new approach in Christian rock, rejects

the categorization as a Christian band in an often-quoted statement by
bassist Tim Foreman. When asked by Rolling Stone Magazine whether
Switchfoot is a Christian band, Foreman replied: ‘We’re Christian by faith,
not by genre’ (Kirk Miller 36). Foreman challenged the label ‘Christian
music’ by insisting that a genre should be characterized by musical style, not
lyrical content. Carefully crafted interviews and conscientious statements
obscure the band’s agenda in order to win over the mainstream without
deterring Christian fans. Many of these artists quote U2—the enormously
successful band with several Christian members—as role models, since they
have been on ‘a long, arduous and well-planned trek, astutely avoiding the
cultural ghetto of Christian music’ (Di Sabatino, ‘Why’) since the 1980s while
weaving subtle Christian messages into their lyrics.21 Christian audiences
know how to interpret these bands’ obscured messages and claim them
for themselves, even if the artists do not identify themselves as Christian.
Ambiguity, double-coding, and subtle references also helped nu-metal
band P.O.D. succeed in the mainstream. Early in their career, the band’s
lyrics were seasoned with f ire and brimstone—and it didn’t shy away
from hot-button issues of the culture wars, as their 1993 song ‘Abortion
is Murder’ vividly proves.22 On later albums, the band toned down their
message to reach a broader audience. Lead singer Sonny Sandoval explains
their reevaluation: ‘We don’t do that stuff anymore, ‘cause that’s not where
we’re at. You know, we’re not about stepping on people’s toes […]. We just
wanna make music that’ll continue to affect people’ (Beaujon 4). The band
signed with Atlantic Records in 1999 and achieved a global breakthrough
success with their hit single ‘Alive’ in 2001. The song embodies P.O.D’.s new
style and language:
Everyday is a new day.

I’m thankful for every breath I take […].
So I trust in love,
You have given me peace of mind.
180 Bärbel Har ju
I feel so alive
For the very first time.
I can’t deny you […].
Sunshine upon my face,

A new song for me to sing.
Tell the world how I feel inside,
even though it might cost me everything […].
Now that I’ve seen you

I can never look away […].
I believe no matter what they say.
At f irst glance, the song presents itself as a very positive, high-energy

rock anthem. The unspecified ‘you’ addressed in the lyrics might refer to
a romantic relationship. The video supports this reading with its narra-
tive surrounding a couple and no overt allusions to Christianity. Jesus or
God are never explicitly mentioned. A closer look at the band’s Christian
background, however, allows for a different reading. The singer thanks
God in the opening lines before joining the chorus—‘I feel so alive for
the very first time’—in an allusion to an experience crucial in the lives of
evangelicals. In this moment of spiritual rebirth, evangelicals believe to be
born-again after accepting Jesus as their personal savior. The conversion
experience lets the lyrical I feel alive for the first time and strengthens
their faith—‘now that I’ve seen you, […] I believe no matter what they say’.
The phrase ‘I can’t deny you’ signals the speaker’s Christian allegiance by
alluding to the biblical motif of confessing to one’s faith even in the face of
prosecution and discrimination, as mentioned in the Gospel of Matthew:
‘But whoever shall deny me before men, him I will also deny before my
Father which is in heaven’ (Matthew 10:33). The next lines pertain to the
aforementioned ‘persecution complex’ of many evangelicals and deal with
the stigma that is attached to this confession and to being openly Christian:
‘Tell the world how I feel inside, even though it might cost me everything’.
The video underlines this reading with the singer wearing a T-shirt that
blazes a white hand with a hole in it—a symbol for Jesus’s crucifixion.
Signaling proves effective in conveying a subtle message—to believers and
non-believers alike—because it requires decoding. Toned-down lyrics and
cautious statements, according to the tactics of pre-evangelism, could plant
a seed in a person’s heart that may someday grow, while being ambiguous
and open enough to accommodate the mainstream audience.
Have born-again Christians finally managed then to trade the image of

bible-thumping culture warriors for the more palatable one of culturally
savvy hipsters? The struggle for ‘legitimacy and the desire to escape the
“subliterate” stigma’ continues to be an issue for evangelicals who navigate a
‘secular marketplace that they realize is wary of both evangelical faith and
politics’ (Hendershot 54). Ultimately, making evangelical Christianity cool
remains a challenge. It cannot be denied, however, that Christian music’s
quest for popularity has succeeded to an astonishing degree—whether it
manages to bind evangelical kids to their faith by presenting a hip version
of Christian culture or by way of ‘infiltrating’ the mainstream without
immediately self-identifying as evangelical Christians. Either way, Christian
pop’s pursuit of ‘cool’ caters to the demands of evangelical Christianity.
Its embrace of popular culture and the deliberate self-commodification
allow evangelicals to present their ‘product’ in the best possible way. The
music is still scrutinized and met with criticism, but its sweeping com-
mercial success speaks for itself. Christian pop continues to be popular
and unpopular at the same time—but it is far from irrelevant. Much like
American evangelicalism, it remains both ‘embattled and thriving’ (Smith).
Making accommodations to the marketplace of culture may not have
led to universal acceptance and unanimous critical popularity. Soft-sell
evangelism, however, helped blur the fault lines between the sacred and
the secular, between ‘uncool’ and ‘cool’—and allowed Christian pop to
effectively navigate the complex cultural mechanisms of the unpopular.
Notes
1. In this episode—‘Reborn to Be Wild’ is a pun alluding to the famous Step-

penwolf song ‘Born to Be Wild’ and the born-again experience of evangeli-
cal Christians—Hank is dismayed upon learning that his son Bobby’s new
bible group consists of hard-rocking, skateboarding, tattooed punks, led by
a youth pastor who doubles as a Christian rock band leader. While Hank
may have an appreciation for both rock music and Christian faith, he cer-
tainly does not approve of the—in his eyes—oxymoronic and blasphemous
amalgam of rebellious youth culture and religion, as epitomized in his son
Bobby’s desire to get a Jesus tattoo and his T-shirt that says ‘Satan sucks’.
2. The Rolling Stones Illustrated History of Rock and Roll, for example, notes the
fact that U2 is a spiritual band, but does not mention Christian pop music.
Christian pop is also omitted or neglected in scholarly publications. See for
example Garofalo; Bennett, Shank,and Toynbee.
182 Bärbel Har ju
3. In fact, the term Christian pop music, although widely used, is contro-
versial, not only because of the vagueness of the term—what counts as
Christian pop?—but also because the Christian music industry is largely
evangelical. The usage of the adjective ‘Christian’ also serves to draw an
imaginary line between the spheres of ‘Christian’ music and ‘secular’ music,
which in fact is hardly visible in US culture—and music especially—be-
cause of the pervasiveness of religion. In general, the affiliation with a cer-
tain denomination has been losing significance, non-denominationalism is
trending. For a more detailed discussion of terminology see Harju (14–21)
and Hochgeschwender (15–31).
4. Robert Laurence Moore uses the term synonymously with ‘commercial
culture’ and notes that ‘America’s boom market in religion operated most
effectively at the popular end of the market in cultural commodities’ (6).
5. Moore’s analysis of religious commercialization since the early nineteenth
century refutes theories of secularization and stresses the continuing
impact of commercialized forms of religion in American culture, observing
that ‘a sizable portion of the Protestant evangelical community has made
its peace with commercial culture’ (255).
6. The difficulty to obtain accurate sales figures derives from the fact that the
term itself and the boundaries of the genre are hard to define. Sometimes
labeled Christian Rock, Contemporary Christian Music, Faith-Based Music
or Contemporary Praise and Worship, a clear categorization is difficult; in
addition, some Christian artists try to avoid the stigma attached to Christian
music by not using any of these labels, while at the same time spiritually-
inclined country or mainstream songs sometimes are included in Christian
sales records, which makes accurate numbers difficult to track.
7. See Harju; Howard and Streck.
8. Frith points out that ‘“bad music” […] is only interesting as part of an argu-
ment,’ positioned in a ‘context in which someone else thinks it’s good’ (17).
The object of labeling records as ‘bad music,’ he continues, is ‘a critique of
public taste’ (18), with contempt leveled at ‘the people who like them, who
take them seriously’ (19). The effects of music, too, elicit value judgments
based on the belief in the ‘power of music to shape society’ (24).
9. While Christian rock music appeared revolutionary at the time, the adapta-
tion of popular music for the purpose of evangelization has actually been a
successful strategy for centuries and can especially be found during eras of
spiritual renewal (Harju 44–57). See also Marini.
10. David Di Sabatino notes that contrary to popular opinion—the view that
Jesus Freaks were saved drug addicts and hippies—‘the breadth of the
movement [...] consisted of teenagers with mainline and evangelical church
backgrounds who adopted the spiritual hippie chic as a middle ground
between the radical counterculture and the overly cautious and often in-
flexible traditions of their home denominations’ (Jesus People 4).
11. Radio and television evangelist Bob Larson, for example, repeatedly
claimed that ‘the devil’s music’ and Christian lyrics were incompatible
(Howard and Streck 32). In an essay titled ‘Taking Stock of Jesus Rock’ that
appeared in Christianity Today in 1971, Edward Plowman notes that owners
of radios stations ‘claimed that the music was suggestive, desecrating, of the
devil, and that it dwelled too much on personal experience rather than on
doctrine’ (32).
12. The religious music festival Explo 72 held in Dallas in 1972 marks a turn-
ing point: Known as ‘Godstock’, the event organized by Campus Crusade
for Christ drew 180,000 fans and ‘symbolized a conservative evangelical
appropriation of the Jesus Movement: carefully planned, toned down, and
commercialized’ (Turner 121).
13. Singer Steve Taylor, whose career in Christian music spans over three
decades, has been one of the more forward-thinking and progressive voices
in this debate, as this statement made in 1986 demonstrates: ‘I’m tired and
bored with trying to figure out what’s right and what’s wrong in music. You
know, the whole secular and sacred debate. How did we get off on that
tangent? […] I’m convinced that there are different ways to go about this
business of using music to change the world. Why do we insist on reducing
it to a formula? […] When we limit ourselves, we cut off that access, that av-
enue of communication. People complain about U2 and say that they aren’t
explicit enough about Jesus in their music. But U2 may be opening the door
for other groups that do take a more literal approach […]. We’ve got to allow
for diversity within our ranks or we’ll end up talking to ourselves’ (Seay 28).
14. Notions of an ongoing struggle with the secular world, however, were not
new, as sociologist Christian Smith notes: ‘Distinction, engagement, and
conflict vis-à-vis outsiders constitutes a crucial element of what we might
call the ‘cultural DNA’ of American evangelicalism. The evangelical tradi-
tion’s entire history, theology, and self-identity presupposes and reflects
strong cultural boundaries with non-evangelicals; a zealous burden to
convert and transform the world outside of itself; and a keen perception of
external threats and crises seen as menacing what it means to be true, good,
and valuable’ (121).
15. This strategy was not pursued by all Christian pop bands of the 1980s, as Ei-
leen Luhr points out in her analysis of Christian crossover metal bands be-
tween 1984 and 1994. The glam metal outfit Stryper, for example, employed
stealth tactics to get signed to a secular label but then began to use the
rhetoric and imagery of cultural warriors. They generated some mainstream
interest (including MTV airplay) due to their novelty value as a longhaired,
literally Bible-throwing Christian metal act in black and yellow unitards.
Glam metal bands like Stryper with their long hair, tight outfits and heavy
make up raised some interesting questions concerning evangelicalism and
gender roles that were not approved of by conservative evangelicals (cf.
Luhr 121–22).
184 Bärbel Har ju
16. While there certainly is some ridicule and criticism towards evangelical
cultural products, Lindsay points out that, in general, ‘cultural leaders are
not antagonistic towards Christianity. They’re apathetic toward Christianity’
(145).
17. See also Luhr 125.
18. Many artists resort to double-distribution-deals, where two separate mar-
keting teams cater to the needs and particularities of both markets.
19. Often mega churches, these congregations avoid denominational affiliation,
overtly Christian symbols and rhetoric while offering a number of services
(child care, matchmaking, etc.) and activities (sports, cooking classes,
drama groups) in a casual atmosphere. Sargeant points out that ‘seeker
churches present a more plausible model of Christianity—a model that
fits with pervasive cultural understandings about choice, individualism,
autonomy, the importance of the self, therapeutic sensibilities, and an anti-
institutional inclination common today’ (31).
20. In his book A New Kind of Christian, evangelical pastor Brian McLaren
stresses the movement’s rejection of dogmatic faith.
21. Di Sabatino elaborates: ‘Bono is probably as close to an international
spokesman as the evangelical movement could ever dream of having, a
poster child for the successful marriage of social justice and biblical faith
[…]. Who better than the U2 singer to look to for hints on how to be cultur-
ally relevant, socially concerned and biblically faithful?’ (‘Why’)
22. The song was published through their own independent record label
Rescue on the album Snuff the Punk. Lyrics like this would mean a swift
end of mainstream success: ‘Abortion is murder! There’s nothing you can
do to justify the fact that there’s a living, breathing baby inside of you […].
Murder! Murder! Murder!’
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Crossway, 1981. Print.
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Listening to Bad Music
White Power and (Un)Popular Culture
C. Richard King
On 4 August 2012, Wade Michael Page went on a rampage at a Sikh temple

outside of Milwaukee, Wisconsin, killing six people and wounding four
others before taking his own life. Although his precise motivation remains
unclear, his racist beliefs clearly played a leading role. For more than a
decade, Page had embraced core elements of white supremacy. He was
also an active, even visible, member of the white power music scene. In
2005, he founded the group End Apathy. Fed up with what he saw as social
pathologies, he hoped the band would encourage whites to better see the
world around them and act to make it a better place. Importantly, Page
put race at the center of his vision, using the divisive discourse of white
power to identify both problems and solutions. As his description of the
band highlights:
End Apathy began in 2005 […] to figure out what it would take to actually
accomplish positive results in society and what is holding us back. A lot
of what I realized at the time was that if we could figure out how to end
peoples apathetic ways it would be the start towards moving forward.[…]
But I didn’t want to just point the finger at what other people should do,
but also I was willing to point out some of my faults on how I was holding
myself back. And that is how I wrote the song ‘Self Destruct’. (Blood)
On the group’s MySpace page, moreover, Page contrasted its music with
pop: ‘The music is a sad commentary on our sick society and the problems
that prevent true progress’. He concludes that whites are blind and asleep,
an assessment that reflects a deeper white nationalist belief that whites
are ‘zombies’ who need to wake up to their perilous situation. Clearly, Page
hoped his music would be a catalyst for this racist revolution.
Few would classify End Apathy as popular music. The band had a
limited audience, meager sales, and no name recognition. Moreover, the
group openly expressed sentiments many would deem racist, hateful, and
dehumanizing. Indeed, were it not for his act of violence, few would have
ever heard of the band, which was destined to be bad music—offensive,
transgressive, and of questionable quality.
188 C. Richard King
White power music remains wildly unpopular. In fact, it is hard to

imagine a more maligned and marginalized form of expressive culture,
whether measured by market share, public outrage and condemnation,
or reaction from other musicians, as evidenced by songs like ‘Nazi Punks
Fuck Off’ by the Dead Kennedys. It would be tempting to dismiss white
power music as simply bad music: in poor taste and of questionable quality,
it breaks with social convention as its overt racism, advocacy of violence,
and palpable rage transgress accepted limits of speech and sentiment.
Yet, if this is all we hear in white power music, we are not listening closely
enough to it. This paper seeks to offer a more complex interpretation that
complicates prevailing accounts of white power, musical expression, and
popular culture. To this end, drawing on examples primarily from the U.S.,
this paper advances three arguments.
First, white power music is unpopular, but it is not isolated or idiosyn-
cratic. Rather, it actively engages with and appropriates musical styles to
communicate its message, build audience, create community, recruit mem-
bers, and to crossover to more mainstream spaces. Second, the unpopularity
of white power music has crystallized across the past century. Where white
supremacist music, like white racism generally, pervaded popular culture
and public life, it now largely dwells on the margins, emergent in opposi-
tional subcultures. Finally, for all of its engagements with the popular, white
power music remains unpopular. It is perhaps best described as unpopular
culture; that is, a set of cultural practices and cultural productions that draw
upon and deploy popular stylings but have little claim beyond a bounded
social field on audience, desire, or fashion.
Despite its unpopularity, the power of white power rock is evident not
just in its resonance with the movement but the ways that its aesthetics
and styles mesh with a white supremacist narrative. I build my argument
upon the idea that ‘racist music’ becomes a space for community, for dis-
seminating the grammar, tropes, and narratives of white supremacy, and
for cultivating a white nationalist worldview. Hate music is not innocuous
but part and parcel of the development of the white nationalist movement.
The Southern Poverty Law Center highlights this power:
Since the early 1990s, various forms of ‘white power’ music have grown
from a cottage industry serving a few racist skinheads to a multimillion-
dollar, worldwide industry that is a primary conduit of money and young
recruits to the radical right. Although the music originated in Britain in
the early 1980s, it is now popular among hard-core racists throughout
Europe and the United States.
With this in mind, I begin my discussion with a survey of white power music.
Against this background, I endeavor to complicate white power music,
contrasting songs from the first decades of the twentieth century with
more recent works. This comparative analysis allows a rereading of popular
music as ‘race music’ that lays seeds for more radical harvests. Next, I shift
my focus to the use of the sounds and stylings of popular music to reach
new audiences, first in the recruitment of new members to the movement
and second in an unorthodox effort to create a crossover band, a group
that would remain faithful to white power ideals and ideologies and appeal
to a wider audience. In closing, I reflect on the scope and significance of
unpopular culture.
‘Race Music’
In 1955, Asa Carter lost his job at WILD radio station in Birmingham,
Alabama, bringing to an end his regionally syndicated program, which
was sponsored by the American States Rights Association. His firing would
also mark the end of his radio career. Rather than rethink his racist and
anti-Semitic views, Carter redoubled his commitments to segregation
and white supremacy. He publicly broke with longtime ally the Alabama
Citizens’ Council, organizing the North Alabama Citizens’ Council as a
visible alternative. The leadership role arguably gave Carter an advantaged
position to defend Jim Crow and commandeer media attention. Almost im-
mediately, he directed attention at the evils of popular culture. Of particular
concern for Carter and his followers was the rising popularity of rock ‘n’ roll,
which many at the time dubbed ‘race music’. The former radio personality
advocated a ban of the musical style, believing its content encouraged
moral degradation and race mixing. The music itself and the behaviors said
to be promoted by it were perceived to be a grave threat to white culture
(cf. Martin and Segrave). Indeed, Carter saw in rock ‘n’ roll a conspiracy by
the National Association for the Advancement of Colored People, ‘a plot to
mongrelize America’. As such, ‘the obscenity and vulgarity’, he and others
found in the increasing popular genre led them to assert that ‘rock n roll
music is obviously a means by which the white man and his children can
be driven to the level of the negro’ (qtd. in Garofalo 145). To combat the
animalism evoked by the banality of rock music, he laid out a plan to work
with the owners of juke boxes to remove ‘race music’ records.
As outrageous as his reading of pop music seems today, Carter was not an
isolated voice. His protest escalated locally and echoed nationally. Perhaps
190 C. Richard King
dissatisfied with the theatrics of public relations, Carter formed a second

group in 1956, the Ku Klux Klan of the Confederacy (KKKC), which turned
to direct action and violence. They disrupted a Nat King Cole concert, at-
tacking the singer on stage, and ‘picketed a concert featuring the Platters,
LaVern Baker, Bo Diddley, and Bill Haley, with signs reading, “NAACP says
integration, rock & roll, rock & roll”, “Jungle Music promotes integration”,
and “Jungle music aids delinquency”’ (Delmont 138). Later, members of
the KKKC would abduct, castrate, torture, and leave for dead an African
American painter.
Racist opposition to rock music manifested itself throughout the country.
City councils in Alabama, Arkansas, California, Louisiana, Texas, and
Virginia prohibited interracial dances and concerts. Meanwhile, radios
from Pittsburgh and Cincinnati to Chicago and Denver ‘refused to play
rock and roll’ (cf. Delmont). And, perhaps mirroring efforts organized by
Carter, protestors in Inglewood, California circulated fliers that depicted
the perceived evils of rock music. They featured ‘pictures of young black
men and white women dancing, with captions reading, “Boy meets girl…
be-bop style”, and “Total Mongrelization”’ (Delmont 138).
Carter eventually turned away from the KKKC, apparently after a falling
out over finances in which he shot two associates, and his crusade against
pop music, but remained active in (racial) politics. He worked as a speech
writer for Governor George Wallace, helping to pen the iconic phrase,
‘Segregation Today, Segregation Tomorrow, Segregation Forever’. Later, he
reinvented himself and became wildly popular, authoring the novel that
served as the basis for The Outlaw Josey Wales and under an assumed name
an equally fictional tale that purported to be the autobiography of Cherokee
Indian, The Education of Little Tree, which for a time was selected as an
official choice of Oprah’s Book Club.
Carter did not stop rock music any more than local ordinances extend-
ing Jim Crow did throughout the body politic. Ironically, much of today’s
music that comprises the white power scene derives from early forms of
rock ‘n’ roll. While this might horrify the former Klansman, demagogue,
and crusader, one imagines that he would applaud the creative energies
and racist ideologies central to it. Much like his early career in radio, in
which he used a popular medium for increasingly unpopular ends, today
musicians, producers, and leaders use popular musical forms to recruit
new members, generate revenue, stabilize white nationalist identities
and ideologies, and create community. And like Carter, this music scene
is vocal and theatrical, wildly unpopular, and primed for volatility and
violence.
Recentering White Power
In a recent interview, sociologist Peter Simi, co-author of American Swastika,

identified music as the cornerstone of contemporary white power:
Music is central to the movement in a lot of ways. It played a vital role

in terms of offering opportunities for potential recruitment, offering
opportunities for the generation of revenue and then probably most
importantly, you know, music pulls people together. It gives them op-
portunities to get together for music shows, music festivals; small shows,
large ones, coming together on the Internet and talking about music
shows.
All of these are opportunities for them to share in these kinds of oc-
casions where they’re talking, you know, spending time with, com-
municating with like-minded others who share the same view of the
world as they do and talking about, you know, the future and what
needs to be done.
As Simi suggests, the white power music scene matters in ways often un-
recognized and unexpected from scholars and non-scholars alike. Like all
subcultures rooted in expression, style, and performance, it has always been
about more than entertainment, parties, fun, and ‘distractions’. For a move-
ment pushed to the margins, it advances the movement organizationally,
facilitates the circulation of ideological positions, anchors interactive spaces
(both in person and online), and establishes a forum for the elaboration of
meaningful identities.1
White power music covers a diverse range of musical styles. In addition to
folk and country, it includes musicians producing hard rock, punk, Oi, hard-
core, and metal, notably National Socialist black metal. Its global audience
produces and consumes it within local and regional subcultures. Although
most visible in North America and Western Europe, it plays an increasingly
important role in cultural politics within Eastern Europe, South America,
and Australia. Producers of white power music have adopted emerging
media with swiftness and relative ease, first embracing CDs over albums
and cassette tapes and more recently moving onto the Internet both to
facilitate distribution and seize upon the marketing possibilities of new
media, tapping the potential of social media to connect with audiences and
increase access to music through streaming audio and internet radio. Not
infrequently, labels have ties to established or emerging white nationalist
organizations.
192 C. Richard King
Resistance Records offers a great illustration of the scene and its organiza-
tional structures and ideological elements. Indeed, as an emblematic label,
it has proven to be a vital institution not only within white power music
but also for the movement as a whole. Established in Windsor, Ontario in
1993, according the Anti-Defamation League, it operated as a ‘one-man
hate-music distribution operation with a handful of album titles’, but rather
rapidly expanded to become the leading hate rock distributor in the US.
Legal problems crippled the label, leading to its eventual sale to Willis
A. Carto, founder of the Liberty Lobby, and Todd Blodgett, who relocated
it to the US and worked to resuscitate it. A year later, the pair sold it to
William Pierce, author of The Turner Diaries and founder of the National
Alliance. Like Carto and Blodgett, Pierce believed Resistance Records had
the potential to recruit young people to the movement and more easily and
broadly communicate its message. As such, the new ownership expanded
the label beyond its historic distribution hub, adding a monthly magazine
and establishing a web presence notable for its scope. While the label has
suffered as lawsuits, Pierce’s death, and factionalism devastated the National
Alliance, it remains a major example of the promise of and problems posed
by white power music. Labels like Resistance Records are not the only space
of dissemination for hate music cultivation. Concerts and music festivals
play a pivotal role in the scene, creating what Simi and Futrell dub ‘free
spaces’ that allow participants to express themselves without reservation,
validating identities and ideologies. Music matters to white power because of
the ways in which it advances the movement, communicates its ideological
messages, and opens spaces for the creation of social networks and identities.
Race, Resentment, and Rage
White power music has no singular origin. It has multiple roots and takes
seemingly endless routes in and out of popular culture. It appears in blackface
on the minstrelsy stage, later in the patriotic songs of the Ku Klux Klan (cf.
Crews), and then in the guise of country and rockabilly (cf. Messner et al.;
Wade). Most famously, it has favored the oppositional worlds of alternative
rock—oi, punk, hardcore, and metal (cf. Duncombe and Tremblay; Dyck;
Hochhauser). It exemplifies the transnational dialogues stitching together
white power worldwide and the increasingly translocal articulation of white-
ness that anchors white nationalism. Perhaps ironically, it takes shape in sub-
cultures marked by resistance and known for anti-establishment, progressive,
and even anti-racist sentiments (cf. Duncombe and Tremblay; Home; Sabin).
Contemporary histories of hate rock almost invariably center their

accounts around the British band Skrewdriver and its charismatic lead
singer Ian Stuart, highlighting the ways in which the band blended class
politics, white victimization, British nationalism, and strident racism into
a volatile cocktail that drew on the resentment and rage of punk music
and the utopian underground of the skinhead subculture. In a very real
way, Skrewdriver racialized Oi music and punk more generally, offering
a template of how to repurpose pop stylings and the sentiments of youth
subculture. It opened a dialogue first within the UK and then across the
Atlantic and into Europe around how music as a cultural technology might
be deployed to direct political energies (cf. Brown; Ridgeway), establishing
close ties with the National Front and encouraging violence sonically, and
also secure niche markets through ideology, founding the record label
Blood and Honour. These precedents of invention of genre, exploitation of
medium, and ideological opportunism reappear in successive subcultures
across national borders: hardcore in the United States, black metal in
Europe, and folk in the UK (cf. Spracklen).
Less important than the actual chronology of white power music are the
conditions that make it possible for hate rock to take shape and persistently
shift in novel contexts. I have in mind what Dunscombe and Tremblay refer
to as the ‘tipping point’, which transforms ‘inchoate, oppositional rage’ into
a potent, mobilizable force that targets abject others: where punks had once
‘allowed their rage against the status quo to slip between those in power and
those without it, the White Power punk tips primarily into a hatred of the
powerless’ (114). White power music becomes a vector for white resentments
associated with globalization, decolonization, deindustrialization, and
post-Fordism; a small, marginal, expression of a larger backlash against
immigration, multiculturalism, and civil rights. Importantly, according to
Dunscombe and Tremblay,
White Power punk’s sense of victimization, its valorization of opposi-

tional solidarity, its creation and mobilization of DIY cultural networks,
its understanding of the desire of the forbidden and the shocking, and the
simple raw emotionality and anger of its expression are characteristics
that all punk shares. (115)
These elements were the building blocks for more expansive and penetrat-
ing dialogues, enabling hate rock to crystallize, gain traction, and eventually
become the cornerstone of the movement and the key ideological conduit
for it.
194 C. Richard King
Listening to Hate Rock
Hate rock addresses the preoccupations and expresses the presumptions

of advocates of white power. As such, band names and song lyrics clearly
illustrate the findings of scholars concerned with the movement more
generally. Grounded in concrete notions of naturalized racial and gender
differences, they represent a world of constant struggle, especially an
ongoing or impending race war; they celebrate pride, honor, and loyalty;
they give voice to a hypermasculine and heteronormative worldview;
they picture whites (as a people, race, nation, and/or culture) as imperiled;
they present dehumanizing portraits of racial others, especially Jews and
African Americans; and they offer critiques of the state of society and the
relationship to the nation state. The most extreme lyrical themes cluster
around racism, anti-Semitism, and homophobia. For instance, songs like
‘Splatterday, Nigger Day’ by Grinded Nig, which depicts an attack on an
African American, and ‘Repatriation’ by Final War, which launches an
invective against immigrants, clearly illustrate the extremes of white power
music (cf. Dyck). And Midtown Bootboys call for anti-gay violence:
Stop the threat of AIDS today

Cripple, maim or kill a gay
We’ve got to take a stand today
We’ve got to wage a war on gays
(qtd. in Burghart 1)
Advocacy of violence has led some critics to describe white power music
as terrorism, a point substantiated by Aaronson who asserts that between
1987 and 2003, ‘members of the white power music scene have been linked
to 56 murders as well as thousands of acts of vandalism, assault’, and other
crimes (cf. Aaronson).
Less extreme, though not innocuous, tropes include songs that wax nos-
talgic about Nazi Germany and Viking society, linking past to present, while
laying claims to a virile and romantic versions of a supreme white masculin-
ity. An overlapping theme hails specific heroic figures, often celebrating
their sacrifices to the movement and/or race. Other songs extol the virtues
of contemporary white nationalism, especially embodied by skinheads, as
a way of life. In such music, ‘[t]here is also a clear emphasis on upholding
Aryan values through movement participation, fraternity, kinship ties,
and racial loyalty. These lyrics speak of fostering “global brotherhood”,
“volk”, “white pride”, and “Aryan heritage”’ (Futrell et al. 281). In sum, what
is important to note here is that white power music creates an abject, even
monstrous, other and an empowered and enlightened self, reiterating some
of the most vile and violent imagery directed at people of color, Jews, and
gays and lesbians, and some of the most romanticized assessments of white
(supremacist) agents.
The White Power Music Scene
The social structures and cultural meanings associated with white power
music have spawned subcultures around the globe and facilitated the
construction of identities. It not only creates an interactive context for the
presentation and articulation of self, but it also provides a set of frames and
codes through which individuals can fashion themselves. Music matters
to white nationalists not simply for its rhythm or sound, not only because
it gives voice to visions and values, but importantly because it provides a
material expression to white power. It anchors a scene, opens up space,
encourages interaction, fosters the articulation of identity, and creates
community. While critics have rightly highlighted the lyrics of hate rock
and often linked them to violence, such assessments threaten to offer merely
a caricature of the scene, its attractions, and its significance. For clearly,
what white power music means for its producers and audiences is multifac-
eted: part ideological, part, interactional, part identification. While white
supremacist music now might be best described as marginal, if not deviant,
manifesting many of the features of other oppositional musical subcultures,
often interfacing, if not overlapping with them, its present formation differs
markedly from its antecedents in tone, content, and reception.
Songs for Mary Phagan
Music extolling white supremacy, advocating hatred towards blacks, Jews,

and immigrants, and promoting the defense of the white race (often from
a perceived existential threat) is nothing new. In fact, this might describe
much of American popular music up into the twentieth century. On the
one hand, the minstrelsy tradition, in which actors staged performances
in blackface, borrowed and denigrated expressive elements of the African
diaspora, used caricature blackness to make commentaries on racial and
class politics, and delighted audiences of white men with their song stylings,
arguably constitutes a core strand of American popular culture. On the
196 C. Richard King
other hand, as urbanization, industrialization, and immigration changed

the face of America, scholars set about collecting endangered musical tradi-
tions, seeking pure, uncorrupted, and authentic expressions that required
disentangling white from black stylings (cf. Taylor and Baker 2007). This
racialized and essentialized splitting would have profound implications
for the development of popular music as well as understandings of racial
difference that echo down through Asa Carter and hate rock.
A measure of the centrality of white supremacy to popular music in the
early twentieth century can be found in Ku Klux Klan (KKK) sheet music.
While the KKK has the rightful reputation of being a violent vigilante group
that used terror to police racial boundaries and put African Americans in
their ascribed social place, the group remade itself in 1915 as a fraternal
organization that was at least to the outside committed entirely to 100%
Americanism. In the following decade, the KKK skyrocketed to prominence
across the US, promoting family values, patriotism, and tradition, while
campaigning against modernity, immigration, and progressivism. Public
pageantry, from parades to socials, and ritualized secrecy were fundamental
to the success of the reborn KKK, particularly its political influence in local
and regional elections and the passage of immigration reform at the national
level. Not surprisingly music played a key role, communicating values and
principles, creating community, and crafting identities of white Americans.
In the songs collected by Crews one sees a celebration of America, Christian-
ity (or rather Protestantism), whiteness and, to a lesser extent, denigration
of Jews, immigrants, Catholics, and African Americans (cf. Crews). As the
reformed KKK collapsed under the weight of corruption and disillusion-
ment, most Americans forgot its 100% Americanism and the music that
accompanied it—so much so that a recent episode of History Detectives on
PBS featured a segment sleuthing the origins of a KKK recording discovered
by a surprised and disgusted antique collector at a yard sale.
After the Second World War, two fundamental shifts reinforced one
another: f irst, American society began a slow and incomplete journey
toward racial equality, which contrary to public opinion was neither as
successful nor as complete as notions of a post-racial America would imply
(cf. Dowd-Hall), and second, consumerism and media culture began to
reshape selves and society. Asa Carter’s campaign discussed at the outset
of this chapter represented a backlash against these twin forces. In keeping
with these deeper shifts in racial thinking and cultural production, the
terrain of the popular shifted as well, destabilizing the acceptability and in
many cases the utterability of overtly racist music. In essence, white power
music has become unpopular and yet has remained a vital means through
which advocates have sought to become popular, to expand the base of the
movement and the purchase of their ideological claims.
Two songs clarify these broader shifts in white power and popular
culture, offering keen insight into the scene and its strategies. Both songs
about Mary Phagan, a young factory worker killed under mysterious cir-
cumstances in the Atlanta area in 1913. The subsequent investigation led to
Jewish factory manager Leo Frank being charged with the murder. Labeled
the American Dreyfus, an obvious reference to the fraudulent, anti-Semitic
trial of a French officer at the end of the nineteenth century, Frank was
convicted and initially sentenced to death, which was later commuted by
Governor John M. Slaton. Outraged, a group of local citizens, including many
community leaders, formed the Knights of Mary Phagan (KMP) to avenge
the girl and defend the race. As one speaker said to assembled members
of the group:
This sainted girl […] who, true to her inherent high breeding and the
teachings of her devoted mother, gave up her own life rather than sur-
render that Christian attribute—the crown, glory, and honor of true
womanhood into the threshold of which she was just entering. (qtd. in
Dinnerstein 136)
Shortly thereafter, members of the KMP kidnapped Frank from prison and
lynched him. None of the participants were ever convicted for their roles in
the ritual killing. Frank was pardoned posthumously in 1986. Importantly,
the Knights of Mary Phagan would be central to the rebirth of the Ku Klux
Klan, comprising its core membership at its public unveiling in 1915 (cf.
Dinnerstein).
A folk ballad, ‘Little Mary Phagan’, began circulating after the trial. It
was played at rallies calling for the execution of Frank. Largely a narrative
of key events, it paints the young woman as an innocent and virtuous
victim, while casting the accused killer as cold, calculating, and alien, an
individual who defiled both a young woman and the traditions of region
since he took advantage of her vulnerability and did so on Confederate
Memorial Day.
Leo Frank he met her

With a brutish heart, we know;
He smiled, and said, ‘Little Mary,
You won’t go home no more’.
198 C. Richard King
Sneaked along behind her

Till she reached the metal-room;
He laughed, and said, ‘Little Mary,
You have met your fatal doom’.
(Snyder)
While the ballad paints a morality tale, pivoting on familiar themes of good
and evil amplified by references to the inhumanity and marginality of the
perpetrator, it does not invoke overt anti-Semitic slurs or celebrate the im-
pending violence of retribution. It does not have to. The audience knows that
the ballad is as much a racial drama as it is a morality play because media
coverage and popular sentiment have already framed it as a young, virginal
and honorable woman mercilessly murder by a racial other and outsider—a
Jew, an industrialist, a transplanted Yankee (though born in San Antonio,
Texas). It was one more text in a broader dialogue about racial justice and social
order in which the execution of the former would ensure a return to the latter.
Seventy-five years later, the white power band Achtung Juden would
release Reich Songs, Volume Two, which featured a photo of the lynching
as its cover. The CD, featuring 14 tracks, opens with ‘The Knights of Mary
Phagan’, and also includes original songs like ‘Keep on Fighting’, ‘Burn
the Books’, and ‘Our Pride is our Loyalty’ and covers of ‘classic’ songs by
Skrewdriver, ‘Hail the New Dawn’, and No Remorse’s ‘Son of Odin’.2 The song
is a simple, fast-paced, and hard-driving rock anthem marked by forceful
guitars and drums and guttural vocals. Key passages follow.
Fetch the Rope

String up the Jew
Punish the Abraham
Leo Frank at the End of a Noose
…………
We are the Knights of Mary Phagan
…………
Kill the pedophile
Reclaim our nation
…………
Destroy ZOG, before they destroy you
…………
Where the ballad reported a current event, here, the author and listener
becomes one of the Knights, empathizing with, endorsing, and enacting
the lynching. Violent in imagery and sound, the song celebrates the killing,
legitimating the deed through anti-Semitic language and assumptions,
which were absent from the ballad. This should not be too surprising given
that the name of the band itself translates from German as Attention Jews
and makes a fairly explicit reference to Nazism, a reference reinforced by the
CD title (Reich Songs, Volume Two). To make Frank and the impropriety of
his actions stark to contemporary listeners, the band foregrounds the killing
and the pathological character of the killer. And more, it reminds listeners
that this is not an isolated or historical act, but rather an ongoing campaign
by the Zionist Occupational Government (ZOG, or more generally, the Jews).
Finally, where the KMP and the ballad itself called for defense of the race
and the honor of its women, the track calls for the reclamation of the nation,
suggesting that necessary action goes beyond defense to recuperation and
renewal.
These two songs highlight a number of important shifts in white su-
premacy and popular culture. First, where racially charged songs were
once accepted and applauded (regionally, if not universally by 1915), today,
they are unpopular, marginal, and taboo. Indeed, white supremacy, for-
merly a shared value and perceived natural fact, has become contested, a
persistent structure held under erasure by colorblindness, new racism, and
multiculturalism. Second, in contrast with the common sense narrative or
recitation of the ballad, ‘The Knights of Mary Phagan’ offers an argument,
rather explicitly advancing racialized rhetoric to make claims about the
current condition. Third, the language, tone, and style of the songs expose
profound changes. Not only does hard rock (somewhere between punk and
metal) replace the fiddle and folks stylings of yore, but the imperiled state
of whiteness is more urgent, the action depicted more vulgar and violent,
and the references to difference more denigrating and starkly anti-Semitic.
Fourth, the regional and racial references in ‘Little Mary Phagan’ give way
to a new imagining of race and nation, in which whiteness has more global
and trans historical referents, can be seen as the foundation for a nation
distinct from and opposed to the USA, and in an existential struggle with
ZOG (Jews). Importantly, in spite of changes in technology and the vis-
ibility of white nationalism, music sits at the core of the movement into the
present moment. Moreover, the changing place and presence of mainstream
popular culture and the dialectics between cultural integration and white
nationalist formation compelled a continued emphasis on counter cultural
production from white supremacist spaces.
200 C. Richard King
Isn’t It Ironic
Asa Carter, whose career and critique opened this essay, seized upon
what he understood to be a fundamental contradiction that many think
should make hate rock unthinkable. Rock music emerges from a hybrid
space, mixing sonic traditions, cultural behaviors, and racialized bodies
(cf. Lipsitz). For Carter and many others in the late 1950s and early 1960s,
these polycultural patterns of integration challenged the rule of Jim Crow
and threatened their understanding of race relations, the boundaries of
whiteness, and the social order. By and large, producers and consumers of
popular music do not consider this origin story when writing, recording,
performing or listening to a recent release or personally meaningful song.
And much the same is true for participants in the white power music scene.
On the one hand, the commercial music industry, beginning at roughly
the moment of Carter’s campaign, whitened popular music, reworking its
polycultural beginnings for increasingly discrete, if not segregated, niche
markets defined by race, class, and gender. As a consequence, rock music
does not so much conjure a multiracial social scene or musical style, as
refer to white artists—the Beatles and Rolling Stones, AC/DC and Rush,
Led Zepplin and Areosmith—while soul, R‘n’B, urban contemporary, Latin
and so forth mark music by and for people of color.
On the other hand, the racial politics of popular music shifted after
rock ‘n’ roll allegedly became white. Over the past two decades, the
normalcy of rock has been contrasted with the deviancy, hypersexuality,
and violence of hip-hop and the oppositional waves of (white) alternative
music. In common with many pundits and parents, hate rock holds the
former in contempt, viewing it as a degenerate genre and social ill. At the
same time, it engages with the latter, drawing on punk, metal, hardcore,
and even neofolk to communicate its ideology and hail prospective
adherents to it.
Without setting aside the irony of white separatist and white supremacist
music policing racial boundaries and reiterating racial hierarchies, two
other elements crucial to the white power music scene merit emphasis.
First, commercial music came to make and market the same racial catego-
ries that Carter sought to defend in his campaign. Second, where whiteness
came to displace the polycultural foundations of rock music, blackness
remained a social problem and source of moral panics over the past half
century.
Remapping the Musical Landscape
One map of the contemporary American musical landscape might sug-

gest a rather deep, if not complete, separation between various popular
styles, whether rock, jazz, alternative, roots, or hip-hop, and white power
rock. After all, the latter centers on hate, a coming race war, and imperiled
whiteness—themes rarely found in the pop charts, not to mention polite
conversation. Such a rendering would, however, misconstrue the contours
of mainstream music and its entanglements with race and racism. I offer
three fragments to render an impressionistic portrait.
Writing in the late 1970s, musician and critic Lester Bangs offered a
scathing assessment of the place of race in the underground music scene
(cf. also Kennedy). Lifting the veil off hipster life and its extremities, he
probes an emerging contradiction in the wake of the civil rights movement;
most hipsters, like most white Americans ‘don’t have to try at all to be a
racist’. He recounts a series of incidents and observations that should trouble
the avant-garde, but do not. For instance, he notes, in the shadow of the
Vietnam War, a long-forgotten band called Shrapnel regularly played a song
‘Hey, Little Gook!’, and he describes Iggy Pop introducing a song, ‘Our next
selection tonight for all you Hebrew ladies in the audience is entitled “Rich
Bitch!”’ His concern goes beyond shock value and pushing limits, recounting
an appearance of Miriam Linna of the Cramps ‘posing proudly’ in ‘leathers
and shades and pistol in front of the headquarters of the United White
People’s Party, under a sign bearing three flags “GOD” (cross), “COUNTRY”
(stars and stripes), “RACE” (swastika)’ (Bangs 1979).
This linkage of America and whiteness slides with disturbing ease into
an embrace of white power imagery, which Bangs insists is about more
than getting a rise through performance art. Like the use of Nazi imagery
in British punk in the same era, these limit projects do more to show the
limitlessness of white privilege and the limited capacity of hipsters to
revalue white racist imagery. But then, as others in the underground scene
suggest, perhaps ascribing sincerity to much of their culture work is giving
them too much credit. As Bangs observes, Nico, member of the acclaimed
Velvet Underground, who performed ‘Deutschland über Alles’ at CBGB,
lamented the loss of a record contract in a later interview: ‘I made a mistake.
I said in Melody Maker […] that I didn’t like negroes. That’s all. They took it
so personally […] I don’t like the features. They’re so much like animals […]
its cannibals, no?’ (Bangs, emphasis original)
At the close of his short catalog of opinion, utterances, and encounters,
Bangs has resigned himself to a rather troubling conclusion: ‘When I started
202 C. Richard King
writing this, I was worried I might trigger incidents of punk-bashing by black

gangs. Now I realize that nobody cares. Most white people think the whole
subject of racism is boring’. Of course, for the artists he discusses and many
other hipsters at the time racism was fun, racism was powerful (both as it
reinforced and held the promise of upsetting the system). This power, of
course, is an unrecognized bridge between the hip, fashionable, and proper
experiments of the avant-garde on one side and the vulgar, uncouth, and
unacceptable stylings of white power on the other.
Speaking in 1997, Glenn Danzig (né Glenn Allen Anzalone), founding
member of The Misfits and Samhain and later successful solo artist, sat for
an interview with Steven Blush of Seconds magazine. While much of the
discussion centers on his musical endeavors and business ventures, near
the end, the conversation swerves to race. Danzig proceeds to reaffirm his
past statements that he did not think that there was anything ‘wrong with
being proud of being white’, adding comments on a possible race war and
the oppressive nature of what he read as double standards. He closes with
a flourish:
I’m going to say something very controversial: if you are African-American

and you don’t want to live by White people, that should be your choice.
[…] The flipside of that is why shouldn’t there be areas a Black person
can’t go? If a White person doesn’t want to live with Black people, that’s
their decision. This is America; do what you want to do.
In his comments, he has completely reframed racism, advocating racial

segregation and separation (Jim Crow style) in the rubric of colorblindness
and abstract liberalism (everyone can make an individual choice). This
blend is at once in keeping with much of what neoconservatives say about
race and racism amid a neoliberal backlash against the civil rights move-
ment and an endorsement of white nationalists’ embrace of heritage, love
of one’s people, and defense of one’s race. Not surprisingly, discussants on
Stormfront love this interview and hold Danzig in high regard (‘Danzig on
White Pride and Racism’).
Although not as effusive, in a 2010 Playboy interview, popular singer/
songwriter John Mayer also invoked themes more familiar from white
nationalist discussion forums.
PLAYBOY: If you didn’t know you, would you think you’re a douche bag?
MAYER: It depends on what I picked up. My two biggest hits are ‘Your
Body Is a Wonderland’ and ‘Daughters’. If you think those songs are
pandering, then you’ll think I’m a douche bag. It’s like I come on very
strong. I am a very…I’m just very. V-E-R-Y. And if you can’t handle very,
then I’m a douche bag. But I think the world needs a little very. That’s
why black people love me.
[…]
PLAYBOY: Do black women throw themselves at you?
MAYER: I don’t think I open myself to it. My dick is sort of like a white
supremacist. I’ve got a Benetton heart and a fuckin’ David Duke cock.
I’m going to start dating separately from my dick.
His hasty apologies following publication suggest he thought the broader

public would not like the man behind the media persona, when they read of
his multicultural heart and ‘David Duke cock’. It is quite telling that one can
have a schizophrenic relationship with race, embracing, but not desiring,
diversity, accepting difference as a fashion statement or marketing cam-
paign, but rejecting it as a pathway to intimacy and carnality. What’s worse,
it is not simply that Mayer so easily compartmentalizes race, desire, and
aspects of himself, but that he so comfortably refers to the central marker
of his masculinity in this conversation as an infamous white supremacist:
what does it mean to internalize such an identification and declare it so
openly to the world?
The point of this remapping is not to argue that John Mayer inspires hate
rock, or to locate its origins within the hipster scene of the late 1970s. Rather,
in these passing comments and deeply held sentiments deeper, ongoing
dialogues about racial difference, dialogues that call into question progres-
sive narratives of being beyond race and comfortable dissociations around
taste and style. Indeed, it may be the case that these anecdotes reveal how
shifting racial mores have dictated a renegotiation of stage and backstage
performances, of public and private codes of conduct, and how these in
turn dictate racial etiquette and self-presentation in a society committed
to colorblindness. In turn, they likely suggest how and why producers and
performers of white power rock continue to find in pop music the promise
of conversion of and crossing over to the mainstream.
Unpopular Culture
If Asa Carter had had his way, parents and politicians would have prohibited
rock music, putting a decisive end to what he saw as a corrupt musical
fashion and arguably more importantly saving the white race from certain
204 C. Richard King
moral degradation and cultural decline. Despite his best efforts, rock ‘n’ roll
did not die, a fact many who make white power music today likely greet
with great joy, because it constitutes a core of the social scene and political
ideology anchoring the movement today. For all of this, while white power
engages with and appropriates pop music for its own ends, it remains wildly
unpopular, as evidenced by market share, public outrage and condemnation,
and the reaction to it within other music subcultures, perhaps notably in
punk songs like ‘Nazi Punks Fuck Off’ by the Dead Kennedys and ‘Fuck the
K.K.K’. by the Unseen (cf. Spracklen).
This unpopularity has crystallized across the past century. Where white
supremacist music (like white racism generally) once enjoyed a warm wel-
come in public life, especially in areas ruled by Jim Crow and that nurtured
the reinvention of the Ku Klux Klan as a mainstream fraternal order, it now
largely dwells on the margins, emergent in transgressive and oppositional
subcultures. My discussion of songs about Mary Phagan underscores the
decline and marginalization of white power, especially in popular culture.
Nevertheless, music has proven to be especially fecund, enabling adaption
and elaboration of style and sound. For all of its engagements with popular
music, hate rock remains unpopular. It is perhaps best described as un-
popular culture, that is, a set of cultural practices and cultural productions
that draw upon and deploy popular stylings but have little claim beyond a
bounded social field on audience, desire, or fashion.
The unpopularity of white power music certainly derives from the
tastes of audiences and artists in Europe and the USA. For its part, the
music industry has never embraced it, seeing it neither as an acceptable
market nor its producers or consumers as viable. And where new media
has created alternative platforms that increase the appeal and audience of
white power music, scholars of popular culture have largely neglected the
subject, underscoring its unpopularity and reinforcing the idea that it can
be disentangled from more popular musical forms. Even the special issue
of Popular Music and Society on hate rock in 2007 stands as an exception
to the overriding tendency to ignore, demonize, and/or marginalize. In
large measure, this likely derives from the shared values of those who cre-
ate, commercialize, and consume music and those who study it and study
them. It may arise, moreover, from the blurring of the boundaries formerly
separating fans from scholars, and since few scholars openly embrace white
power, and those who have done have become pariahs, there is little chance
it will become a more popular subject in the field. Finally, the subcultures,
sentiments, and stylings of white power make it difficult to place it in
some of the dominant narrative frames of pop culture studies. The very
deviance and hate that attract disaffected whites to it complicate efforts to

speak favorably of identity or resistance, for example. Whatever its cause,
this pattern of neglect, as I have endeavored to demonstrate in this study,
diminishes our understanding of white power and mainstream society,
impairing our capacity to understand the entanglements, shared histories,
and overlapping ideologies as well as the antagonism and alienation that
foster outburst common to the white power scene and increasingly common
in acts like the attack on Sikh Temple in Wisconsin in 2012.
Notes
1. Cf. Burghart; Corte and Edwards; Dyck; Futrell et al; Kim; Mann 2008; Mess-
ner et al.
2. http://www.micetrap.net/shop/catalog/achtung-juden-reich-songs-volume-
p-2564.html
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Hipster Black Metal?
Deafheaven’s Sunbather and the Evolution of an (Un)
popular Genre
Paola Ferrero
A couple of months ago a guy walks into a bar in Brooklyn and strikes up a
conversation with the bartenders about heavy metal. The guy happens to
mention that Deafheaven, an up-and-coming American black metal (BM)
band, is going to perform at Saint Vitus, the local metal concert venue, in
a couple of weeks. The bartenders immediately become confrontational,
denying Deafheaven the BM ‘label of authenticity’: the band, according to
them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports
a hipster hairstyle. Good thing they probably did not know who they were
talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to
Noisey, the music magazine of Vice, considered to be one of the bastions of
hipster online culture. The product of that conversation, a piece entitled
‘Why are black metal fans such elitist assholes?’ was almost certainly
intended as a humorous nod to the ongoing debate, generated mainly by
music webzines and their readers, over Deafheaven’s inclusion in the BM
canon. The article features a promo picture of the band, two young, clean-
shaven guys, wearing indistinct clothing, with short haircuts and mild,
neutral facial expressions, their faces made to look like they were ironically
wearing black and white make up, the typical ‘corpse-paint’ of traditional,
early BM. It certainly did not help that Bayer also included a picture of
Inquisition, a historical BM band from Colombia formed in the early 1990s,
and ridiculed their corpse-paint and black cloaks attire with the following
caption: ‘Here’s what you’re defending, black metal purists. THIS’ (Bayer). The
use of Inquisition as a negative example meant to mock BM purists and their
theatrics was probably unfortunate and a little misinformed: Inquisition
had, in fact, just recently issued Obscure Verses for the Multiverse (2013), a
critically acclaimed album much lauded on indie webzines for its intricate
guitar work and powerful melodies.1
The question framing the article was indeed humorous but also very
provocative, as it pitted ‘traditional’ BM of the 1990s, here represented
by Inquisition, against a new wave of experimental BM bands founded
around the mid-2000s of which Deafheaven are the most popular example.
As a result, a long-winding debate ensued in the comment section of the
208 Paol a Ferrero
article over the nature of ‘authentic’ BM. While comment sections on online
music webzines are notoriously a haven for ‘trolls’ and people generally
insulting each other’s opinions, the discussion arising from Bayer’s piece
was surprisingly articulate and rational.2 Opinions ranged from the mellow
live-and-let-live argument to outspoken attacks on the perceived closed-
mindedness of BM fans’ and also to more articulate and certainly debatable
notions of what constitutes ‘real’ BM. Several identitarian positions arose:
the uncompromising BM fan defending the genre from mass co-optation,
the open-minded BM fan allowing for the genre’s hybridization, and the BM
‘neophyte’, a fan extraneous to the genre’s history that happens however to
like Deafheaven. What emerged from the comment section debate was a
host of different ideas concerning BM’s place in the contemporary musical
market. While the article was purposefully vague on Deafheaven’s actual
musical production and proceeded to bash BM’s elitism (or at least the
author’s version of it), commenters pointed to a much more interesting issue
concerning Deafheaven’s polarizing music: the relationship between the
band’s overwhelming popularity on indie music webzines and the historical,
entrenched, even sought for ‘unpopularity’ of BM.
Deafheaven’s first album, Roads to Judah (2011), was well received on
musical webzines and earned them some honorable spots in end-of-the-year
lists on Pitchfork and NPR, though strictly in metal lists. However, nothing
could prepare them, and BM fans, for the sudden and mind-blowing success
of their next excellent album Sunbather (2013). The album received stellar
reviews and topped Best Album lists in many indie music webzines and
mainstream music publications like NME and Rolling Stone, and the band
was unexpectedly catapulted into indie music stardom. Sounding like the
lovechild of Darkthrone and My Bloody Valentine, Deafheaven are not
your traditional BM band, and they stand at the forefront of a movement
that sees young BM bands, especially from the U.S. and France, playing
with the traditional boundaries of the genre in both its musical and formal
aesthetics. The band’s overall appearance, the unusual composition of their
audiences or the choice of a pink cover instead of the mandatory black of
most BM releases are the elements that have drawn the most criticism
and skepticism from BM fans. While Sunbather was indeed the spark that
ignited the controversy concerning ‘traditional’ vs ‘hipster’ BM, and while
it still remains the most popular object of contention, the critical interest
in the album is not an isolated phenomenon. Deafheaven are only the most
visible product of an undeniable trend that sees BM albums and tracks
being reviewed with increased frequency in general interest publications
like The New Yorker or the San Francisco Weekly or in indie music webzines
Hipster Bl ack Me tal? 209
like Pitchfork and Stereogum.3 These two online zines are considered the
strongholds of musical ‘hipsterdom’, and for good reason. They have quickly
become important cultural powerhouses, musical trendsetters with the
ability of directing musical tastes and pushing unknown artists into the
spotlight. 4
Readers of these webzines in the last couple of years could notice a
steady increase in the number of heavy metal releases reviewed, par-
ticularly extreme metal records. Once obscure bands like the veterans
Agalloch, Alcest, Blut aus Nord, Krallice, Locrian, Wolves in the Throne
Room, Horseback or Panopticon and newcomers like Ash Borer, Castevet,
Deafheaven, Cara Neir, Vattnet Viskar, Raspberry Bulbs and many others
often feature as ‘Albums of the Week’ or as ‘Top Track’ selections in indie
music webzines, a fact that has signif icantly increased their visibility.
How can we therefore explain this shift of BM from the realm of the
unpopular to that of the ‘cool’? How has the genre become part of indie
music discourse despite the fact that it usually poses serious challenges
to an uninitiated listener, revels in obscurity and insularity, and is usually
perceived as static and impermeable to outside influences? And how is
the reception of BM in indie webzines related to the stylistic evolution of
the genre from its early Norwegian roots to the present day? I will answer
these questions by illustrating the receptive strategies put into practice
by reviewers in indie webzines when dealing with new BM records by
using Deafheaven’s latest controversial album Sunbather as a case study.
In doing so, I will rely on the methodological tools of popular musicology,
and particularly on the analysis of musical events through the study of
‘musical collectivities’ and their ‘musical competences’. My analysis, a
sort of online ethnography of BM, will be based on reviews and articles
dedicated to Deafheaven and BM in indie webzines like Pitchfork, Stere-
ogum and Noisey and on the reactions of fans in the comment sections
to those articles.5 BM fans intervene in the definition of BM’s identity by
displaying their own ‘subcultural capital’ against newcomers to the genre
and uphold an idea of BM as transgressive and alien to the mainstream. I
will argue that the growing popularity of BM in indie webzine is a result
of the reification of Deafheaven’s Sunbather as a paradigmatic shift in
the history of genre by indie music critics, a reading counteracted by the
fan’s own ideas concerning the nature of BM as a historically unpopular
genre. The tension arising from this controversy reveals the way a music
subculture as carefully protected as BM polices its own boundaries and
how processes of cultural appropriation threaten the very identity of the
genre.
210 Paol a Ferrero
1. ‘Nobody burns churches anymore’. A Brief Introduction to

Black Metal
The reasons for BM’s historical unpopularity can be attributed to several

complementary factors relating to its origins, style and musical affiliation.
Indeed, musicians and fans of heavy metal, the ‘mother’ genre, have always
characterized themselves as ‘proud pariahs’ (Weinstein 93). Since its incep-
tion, heavy metal has always been occupying a place at the margins of music
history, being either ignored or vehemently attacked by mainstream music
critics (cf. Walser 21). During the 1970s, Led Zeppelin and Black Sabbath were
criticized for their harsh sound and their provocative lyrics, while in the
1980s trash metal bands (Metallica, Megadeth and Anthrax, among others)
were attacked by both rock journalists and subculture theorists for their
lack of political commitment and musical unsophistication (cf. Weinstein
240). Heavy metal has been routinely accused of instigating suicide among
teenagers and to be symptomatic of a dangerous alienation among young
people (cf. Kahn-Harris 598).
As an extreme subgenre of Heavy Metal, BM was bound to become
even more controversial. Early representatives of the genre like UK’s
Venom, Switzerland’s Hellhammer (and its later iteration, Celtic Frost)
and Sweden’s Bathory, the so-called ‘First Wave’ of the late 1980s, used
Satanic imagery and mixed heavy metal and crust punk in often chaotic-
sounding productions (cf. Patterson 6–16, 25–35, 36–57). However, BM’s
musical codif ication came to fruition in the genre’s ‘Second Wave’ in
Norway: between 1990–1994 a number of Norwegian bands from Oslo
expanded and radicalized the musical and ideological codes of the genre’s
first wave. Bands like Burzum, Darkthrone, Mayhem, Emperor, Enslaved
and Ulver (only to cite a few) created a whole new musical subculture.
BM’s musical style was characterized by high-pitched screaming vocals,
full chord progressions and a droning, buzzing sound resulting from the
guitar technique of buzz-picking6 (which created a denser and less clearly
resonant timbre) coupled with the drumming technique of the ‘blast beat’7
(cf. Hagen 2273–2293). The imagery was harsh and obscure: everything,
from the convoluted and almost unintelligible band logos to the menac-
ing stage names and the use of corpse-paint, had to suggest an image of
inaccessibility and mystery. The majority of the bands wrote lyrics relating
to Satanism and Viking or Norse mythology and advocated a return to
pre-Christian Paganism as a form of rebellion against the establishment.
The scene was plagued by a series of violent incidents, namely the suicide
of Mayhem’s singer Per Yngve Ohlin, aka ‘Dead’, the murder of Mayhem’s
guitarist Euronymous by Burzum’s main man Varg Vikernes and a series

of church burnings that created a moral panic in Norway and helped to
crystallize an all encompassing and misleading image of the entire scene
as violent, Satanic and leaning towards National Socialist ideologies (cf.
Patterson 209–214). While the story of the Norwegian scene is too complex
to be dealt in full here, it is true that the sensationalistic events surrounding
it helped to make Norwegian BM an export product, but most importantly,
it crystallized the genre’s stylistic and aesthetic elements as integral to
‘authentic’ BM.8
US Black Metal (USBM) as we know it today was born partly out of the
influence of the Norwegian scene, but also as a result of the early USBM
of the 1980s and 1990s by American bands like Von, Absu, Profanatica,
Krieg, and Weakling. The latter band in particular was instrumental in
codifying the more recent wave of experimental USBM with their only
album Dead as Dreams (2000), which was in its turn heavily influenced
by Burzum’s Filosofem (1996), a seminal record characterized by a wall of
repetitive BM riffs accompanied by an eerie synth line and mantra-like
lyrics (cf. Patterson 212). Weakling’s Dead as Dreams blended Burzum’s
penchant for expansive and repetitive compositions with the emotionally
surging riffs of post-rock, combining emotive resonance and personal
lyrics about solitude and paranoia, with the typical BM wash of sound
and the wailing, wraith-like vocals, through towering, twenty-minute
long compositions (cf. Nunziata). Deafheaven, probably the most famous
contemporary USBM band, have conflated the most important strands of
the genre’s evolutionary pattern while subverting some its most identifi-
able trademarks. Their penchant for post-rock-infused BM is matched by
the use of an unusually colorful artwork and the simple, unassuming
appearance of the band members. The publication of their sophomore
record, the highly anticipated Sunbather (2013), had a twofold effect on
the BM scene: it spawned a debate surrounding the current state of BM,
with some commenters declaring the death of the genre in its traditional
form, and retroactively created an increased interest towards a genre that
has usually been the subject of specialized metal magazines and webzines
and the exclusive territory of BM fans. So, why is BM suddenly a popular
topic of discussion on indie webzines? What are the processes and the
actors involved in the sudden popularity of such an unpopular genre? And
most importantly, what really is at stake in the debate over BM’s identity
and its co-optation (or fears thereof) by what is disparagingly defined as
‘hipsterdom’?
212 Paol a Ferrero
2. Subcultural Capital and Transgressive Power in the Black

Metal Musical Collectivity.
One way to explain the shift of BM from the realm of the unpopular to
that of the cool is to understand the way BM as a musical event has been
received by the indie music audience and the meaning of this co-optation.
Popular musicologist Richard Middleton in his Studying Popular Music
tries to interpret musical meanings and analyze the reception of musical
events by relying on the dynamics pertaining to ‘musical codes’ and ‘musical
competences’ of a ‘musical collectivity’. BM can be defined as a musical
event characterized by a set of ‘musical codes’, i.e. characteristics that relate
musical sounds to extra-musical factors (cf. Middleton 246). These catego-
ries allow us to describe a particular musical work according to its generic
norms, its musical and historical context as well as its musical content.
The term ‘musical collectivity’ has been devised by Italian musicologist
Franco Fabbri to describe all the social actors involved in the creation and
fruition of music and the definition of musical genres (cf. 85). According
to his definition, a musical collectivity includes musicians, composers,
promoters, label executives, fans, journalists, music critics and scholars.
Said music collectivity is endowed by what another Italian musicologist,
Gino Stefani, has termed ‘musical competence’ (Il Segno della Musica 21),
i.e. the way a musical message is received and interpreted by a musical
community. Stefani has devised a general scheme of musical competences
according to the analytical ‘tools’ used by the music ‘receiver’. All these
codes are grouped into two specific competence types, ‘high competence’
and ‘popular competence’ (Brackett 13).9 The most common example is
the difference between a receiver approaching a piece of music with a
knowledge of music theory and one that approaches it at what Stefani calls
an ‘anthropological’ level, as a daily practice (cf. La Parola all’Ascolto 12–13).
Stefani’s model complements Middleton’s in that it introduces the concept
of ‘context’ of the musical event by ‘telling us about the larger social and
cultural context, about the individual backgrounds of the senders and
the receivers of the message, and about the background of the message
itself’ (Brackett 14). In other words, musical works may be received and
codified by a musical collectivity according to different levels of musical
competence, a process that in turn influences the way in which musical
works are perceived and evaluated. In the case of BM’s reception by both the
indie and the BM musical collectivity, musical competence does not relate
specifically to a knowledge of the inner workings of a BM song in terms of,
say, chord progressions, melody, or harmonic structure: BM has rarely if ever
been analyzed from a music theory perspective, and certainly not in music
webzines.10 On the other hand, the musical competences of BM’s fans relate
to a knowledge of the history of the genre, of its musical and ideological
evolution both temporally and spatially, and of the musical characteristics
linking the ‘old guard’ with this new host of young BM bands. This may be
true for most fans of very specialized genres, but in the case of BM, a very
unpopular genre now experiencing a sudden increase in popularity, this
aspect becomes crucial and arguably unique.
The process through which members of the BM ‘musical collectivity’
define themselves through their level of ‘high competence’ of the genre pro-
duces two complementary effects. Firstly, it endows them with ‘subcultural
capital’, a concept that Sarah Thornton, adapting it from Bourdieu’s own
theory of cultural capital, has used to study dance-music subcultures in the
United Kingdom. Translating the concept to the extreme metal subculture,
Keith Kahn-Harris has observed how the display of musical knowledge
within the scene produces an accumulation of subcultural capital. Extreme
metal fans are eager to show that they know all the intricacies of the scene
and the evolutionary paths of influence from one band to another. Secondly,
it creates ‘hierarchies of status’ and ‘hierarchies of power’ (Kahn-Harris
2367) within but, most importantly, as a reaction to outsiders trying to get
in. As Frith argues, if ‘social relations are constituted in cultural practice,
then our sense of identity and difference is established in the process of
discrimination’ (Performing Rites 18). Part of the pleasure of belonging to
the extreme metal scene is in fact derived from the profound knowledge of
the genre’s history, a kind of subcultural capital that allows scene members
to exclude or discriminate newcomers. BM fans and practitioners have
always proudly been conscious of the unpopularity of the genre and have
therefore reveled in the idea of being a part of a ‘secret society’ of like-
minded individuals exclusively conscious of the inner workings of the genre.
BM fans have also been proudly conscious of the genre’s ‘extreme’ or
‘transgressive’ nature. Generally speaking, the fact that BM’s lyrics and
imagery usually deal with death, violence and the occult is part of the
reason of its unpopularity. More specifically, the pleasure of transgression
from the norm of acceptable musical practice that extreme forms of metal
afford their listeners is crucially linked to questions of subcultural identity
formation. Keith-Kahn Harris has individuated three types of transgressions
in extreme metal: ‘sonic’, ‘discursive’ and ‘bodily’ (Kahn-Harris 660). Without
going into the detail of musical analysis, extreme metal transgresses the
‘norm’ of mainstream music and even classic heavy metal by emphasizing
elements such as heavy guitar distortion, down-tuning and volume. Other
214 Paol a Ferrero
characterizing sonic elements of BM, such as the screaming vocals or the

furious technicality of the drum signature, make the genre even more inac-
cessible. At the level of discourse, extreme metal has made themes like death
and violence even more explicit than in classic heavy metal. As Kahn-Harris
notes, seminal extreme metal bands like Carcass, Cannibal Corpse, Death,
Dismember and Obituary routinely resorted to revolting images of torture
and suffering in their lyrics and artwork (cf. 787). BM bands, particularly from
the genre-defining Norwegian scene, have instead embraced Satanism (or
anti-Christianity) as an extreme form of individualism. Kahn-Harris writes:
‘Satanism is generally more concerned with liberation from the perceived
constraints of humanity than with worshipping the devil’ (856). As such,
Satanism in BM transforms into a form of rebellion against the establish-
ment that enhances the fans’ perception of the elitist and unpopular nature
of the genre. Bodily transgression like heavy consumption of alcohol and
drugs are less central to the scene and certainly not unique, and they do
not constitute a defining factor of the genre’s unpopularity. The streak of
violence associated with the Norwegian scene of the 1990s has instead as-
sumed a ‘mythic significance’ (Kahn-Harris 999), and the genre has certainly
capitalized, if unwittingly, on the allure of this violent origin story. As such,
the transgressive elements associated with BM, coupled with the fans’ deep
knowledge of the genre’s musical codes and accumulation of subcultural
capital constitute the building blocks of its unpopular identity. These ele-
ments intervene significantly in the way BM fans negotiate their own sense
of identity and how they respond to co-optation by the popular mainstream.
The critical space generated by Sunbather through reviews, op-eds and
their respective comment sections illuminates the dynamics of appropria-
tion of subcultural musical genres by mainstream culture and the way fans
negotiate questions of authenticity and belonging. Fans and critic-fans
alike are part of one or several overlapping musical collectivities, in this
case the BM and the indie one. In fact, the blurring of boundaries caused
by the sudden entry of BM into the world of indie webzines is one of the
main forces behind the debate over BM’s identity. In the next section of
this essay, I will use Sunbather as a case study in order to flesh out the
different voices of the BM musical collectivity: the fans, the indie webzine’s
journalists as critic-fans, and the musicians themselves. The participants
in the debate display their own specialized knowledge of BM musical codes
and their accumulated subcultural capital to either reinstate or redefine
what they believe can be considered BM and what can be excluded from
it. The discussion of Deafheaven’s explosion of BM musical codes reveals
how inclusionary and exclusionary processes taking place at the limits of
subcultural spaces amplify the fans’ concerns over cultural appropriation.

Now that BM is up for the taking, so to speak, now that it has burst through
its prescribed boundaries into indie cultural consciousness, its very identity
as an unpopular genre is put into question.
3. ‘Death to Black Metal’: Deafheaven’s Sunbather and Black

Metal in a ‘Post-Pitchfork’ World
The increased coverage of BM in indie webzines following the publication

of Deafheaven’s Sunbather has led to an exponential rise in reviews and
op-eds debating the current status of the genre and to the consequent
extension of the debate among fans in the comment sections. As Sexton
argues, the proliferation of critical discussions about music in online zines
has significantly blurred the boundary between the professional rock critic
and the critic-fan (cf. 6). Publications like Pitchfork and Stereogum can be
described as ‘semi-fanzines’, a term developed by Frith to describe those
music publications where the critic’s ‘knowledge and authority proceed
not from formal, educational or professional training but primarily from
autodidactic, amateur enthusiasm’ (Atton 9). Consequently, music criticism
of BM in these websites does not subscribe to the classic narrative that pits
established rock critics upholding some ‘universal critical values’ (Atton
5) against expert fans of a subgenre. The debate surrounding BM’s sudden
popularity in articles on indie webzines involves a musical collectivity
where most actors involved possess high musical competence and a good
quantity of subcultural capital.
The articles devoted to Sunbather argue for the death of traditional
forms of BM in favor of multiple new forms of BM that take a decisive
step away, stylistically and most importantly ideologically, from the
‘mother’ genre. Furthermore, they argue that the musical codes of BM
have changed dramatically for the better and Deafheaven’s Sunbather
has been instrumental in igniting the change. An example of this kind of
argumentation is Michael Nelson’s op-ed ‘Deconstructing: Alcest’s Shelter
and metal in a post-Deafheaven world’ on Stereogum. Nelson, it must be
noted, is Stereogum’s metal columnist and author of the monthly ‘Black
Market’ column, so his musical competence on BM is beyond doubt, yet I
take issue with his interpretation of Deafheaven’s Sunbather as a watershed
moment in the history of BM, producing a sort of paradigmatic shift in
the genre and a ‘post-Deafheaven’ world. In the article, Nelson introduces
Alcest, a French BM band mixing BM with the shoegaze of Slowdive and
216 Paol a Ferrero
My Bloody Valentine, as another similar example of the way the genre

is breaking away from tradition. With their latest release, 2014’s Shelter,
Alcest have abandoned BM altogether and essentially put out a shoegaze
record. According to Nelson, Deafheaven are direct descendants of Alcest’s
‘blackgaze’, who provided Deafheaven’s ‘blueprint’, and he triumphantly
proclaims Sunbather to be ‘the most important moment for American metal
since the release of Nirvana’s Nevermind’. The publication of Shelter, Nelson
points out, comes at a ‘fortuitous’ time, since just when Deafheaven release
a watershed, genre-defining record, Alcest decide to ‘joyously’ abandon BM
altogether. What Nelson seems to suggest here is that Sunbather’s unex-
pected success (according to Metacritic, Sunbather was ‘the best reviewed
album of 2013’) has created a decisive break in the evolutionary trajectory
of BM, and that Alcest’s Shelter marks the next logical step. In other words,
Sunbather’s critical popularity is integral to the break with the tradition of
BM, a tradition that will remain unpopular because it cannot survive in a
post-Deafheaven world.
To back up his argument, Nelson cites another controversial op-ed,
Decibel’s Michael Bergrand preface to his ‘Best Metal Albums of 2013’ article.
In his introduction to the list, Bergrand essentially declares the death of
metal, or at least its current status of creative ‘atrophy’. Any innovation in
metal, according to Bergrand, comes from bands actually overstepping
the received boundaries of the genre and embracing forms as diverse as
shoegaze, kraut-rock, progressive, jazz, etc. Begrand states that this process
of ‘border-crossing’ has been happening for at least the last ten years, and
Deafheaven’s latest record is a crucial part of this process:
Deafheaven’s 2013 album Sunbather just might be the first major splinter-
ing that will eventually see ‘extreme music’ separating completely from
actual heavy metal. [...] It remains the most critically acclaimed album
of 2013, of any genre, marking the first time an album that has occupied
that grey area between ‘metal’ and ‘extreme music’ has captured the
attention of so many mainstream critics and audiences. Some critics
still call Sunbather ‘metal’, but to do so is to forget what makes heavy
metal heavy metal in the first place, merely clutching to the few metallic
threads in an otherwise richly varied musical fabric. In reality, Sunbather
is a tremendous example of extremity transcending the metal ethos
entirely.
Bergrand expresses a very stylistically conservative view of metal with

regard to style, but he makes an interesting though ultimately debatable
statement: that metal and extreme music are two different things. More
importantly, he claims that Sunbather’s success with mainstream audiences
is a result of an excision of the musical elements of metal in favor of the
gray area of extreme music. As he goes on to conclude, while metal lingers
in a state of crystallized motionlessness, extreme music is ‘the true limit-
less form of music’. Using Bergrand’s argument about Sunbather, Nelson
goes even further and questions the nature of metal itself: if Sunbather
is extreme music and thus not bounded by BM’s ‘rigid confines’ (Nelson),
then Alcest’s Shelter is also extreme music, and so are Burzum’s with his
‘washed-out, lulling and gentle’ records. In a post-Deafheaven world, metal
is indefinite.
While I may spend paragraphs arguing why I find very little ‘gentleness’
in any Burzum record, my interest lies more in the way BM has been shoe-
horned into indie cultural consciousness by positing this ‘post-Deafheaven’
world in which BM itself is eliminated from the equation in favor of the
all-encompassing ‘extreme’ label. Initially, Nelson seems to disagree
with Bergrand’s uncompromising view of metal, but he then utilizes his
definition of extreme music to equate extremity with musical innovation
and BM with musical rigidity. Ironically, Burzum need also to become
undefinedly extreme because identifying them strictly with BM would
automatically make their disciples, Deafheaven and Alcest, still BM. BM
musical codes, the ones Burzum allegedly helped to create, are therefore
made irrelevant because they did not exist in the first place. The way BM,
and particularly Sunbather, is received by the indie music collectivity,
in this case reviewers and fans or commenters, dramatizes exactly how
the unpopularity of the genre has been metabolized through a narrative
that downplays its BM elements and at the same time posits the evolution
of BM in the ‘post-Deafheaven’ world as a decisive break rather than an
evolutionary narrative.
Brandon Stosuy’s enthusiastic review of Sunbather on Pitchfork also
favors this narrative of rupture in the BM continuum. First he lists all
the influences present in the record, an impressive roster of bands that,
quite ironically, makes you wonder where Deafheaven’s groundbreaking
originality truly lies: we have the massive, cinematic post-rock of Mogway,
Goospeed You! Black Emperor, and Sigur Rós, but also the 1980’s art rock
of The Cure and The Smiths, and of course the shoegaze of My Bloody
Valentine. He then concludes his review by also positing a ‘post-Deafheaven’
world where ‘black metal won’t be the same now that [Sunbather has] been
released’. Nelson’s review of Sunbather runs along the same line of thought
and tends to stress Deafheaven’s non-BM elements:
218 Paol a Ferrero
If you were to remove all Clarke’s vocals from Deafheaven’s new LP,
Sunbather, and replace them with anodyne, ethereal cooing courtesy
of, say, Bilinda Butcher or Rachel Goswell, you would be unlikely to hear
Sunbather as anything except a shoegazer album. Or you could axe the
vocals entirely and just call it a post-rock record and you wouldn’t be
wrong. Clarke doesn’t even look like what a guy in a black metal band
is supposed to look like: He’s dapper, smartly dressed, cleanly cropped.
You’d be more likely to mistake him for a member of Morrissey’s backing
band than a member of Inquisition or Immortal. But as soon as he opens
his mouth… (‘Premature Evaluation’)
He later ascribes to Deafheaven an almost single-minded need to create

controversy by going against everything a BM record is supposed to be:
In a studio diary published earlier this year on Invisible Oranges, Clarke

wrote: ‘I named the record Sunbather because that’s the feeling it gives
me. It is the sadness and the frustration and the anger that comes with
striving for perfection. Dreaming of warmth and love despite the pain of
idealism’. I don’t (entirely) mean to question Clarke’s sincerity, but that
seems like an enormous stretch to me. He couldn’t find a better metaphor
to capture Sisyphean angst than Sunbather? Nah, I’m not buying it—as I
said in my review of Sunbather’s lead single, ‘Dream House’, I think he’s
trolling the trolls: Black metal bands don’t have pink album covers, and
they don’t have album titles that refer to vapid summertime outdoor
leisure. That is the exact fucking opposite of what black metal bands
do. I think it’s deliberately intended to inflame. (Nelson, ‘Premature
Evaluation’)
As a phoenix reborn out of the flames, Deafheaven have, according to

this reviewer, metaphorically ‘killed’ their elders and done away with
BM’s traditionalist and insular approach, making it finally acceptable to a
wider audience. Rather than accepting the fact that BM musical codes have
evolved for the better, he needs to create a reassuring narrative in which
pink covers and ‘vapid summertime outdoor leisure’ may never become
part of the BM imaginary. This kind of rhetorical strategy is present in
many articles and reviews of these new BM bands on indie webzines: the
gist is that these bands become acceptable once their style points more to
something other than BM. The reviews on Pitchfork and Stereogum are
all eager to point out, for example, how the sound of new USBM bands like
Locrian, Castevet or Vattnet Viskar owes more to the kraut-rock of Popol
Vuh or the post-rock of Mogwai and Godspeed You Black Emperor! than to
Mayhem or Darkthrone. Yet, while these bands hybridize their sound with
other genres and do away with the more spectacular elements of early BM
(the corpse-paint, the Satanic or occult imagery), stylistically they do not,
or at least not completely. Stereogum’s Chris DeVille pointedly states in
an article on Deafheaven’s crossing over to the ‘dark side’ of hipsterdom
(‘Deconstructing: Deafheaven, Disclosure and Crossing Over’), that indie
music critics are usually eager to present themselves as open-minded
omnivores. Reviews of Sunbather in both indie webzines and mainstream
publications will therefore embrace the album as a break with traditional
BM and disparage BM’s purists supposed backlash.
However, as I have already pointed out at the beginning of this essay,
such a purist backlash is actually rare and discussions on comment sections
to articles about Deafheaven are usually cogent and well-informed dissec-
tions of BM’s myriad influences and subcurrents. Of course, exceptions
apply: some commenters are openly hostile to metal, feeding off the usual
stereotypes about metal fans’ musical immaturity, herd mentality, and
elitism. Other listeners approaching BM for the first time with what we
could term ‘low’ musical competence of the genre, tend to find fault with
some of its most inaccessible musical elements, but they nevertheless show
a certain degree of open-mindedness, certainly fuelled by the hype created
by their favorite indie webzines. A commenter on Sunbather’s reviews on
Stereogum named ‘KiDCHAIR’ states that he would definitely listen to
Deafheaven, he loves the melodies, the emotional surge of the blast beat
coupled with the frantic chord progressions, but he really cannot swallow
a singing that to him is just a series of ‘YAI, YAI, YAAAHAHAH’ that does
not communicate any emotion to him. ‘Why can’t he sing?’ he asks (Nelson,
‘Premature Evaluation’). Some commenters on the articles by Baher, Nelson
and DeVille define themselves as ‘metal outsiders’ and are usually confused
by metal’s endless breakdown into currents and subgenres, but still express
interest in giving BM a try. A commenter on the DeVille article named
‘spo’ for instance states how his enjoyment of the Deafheaven album has
encouraged him to listen to other bands, like Wolves in the Throne Room.
The most interesting insights on the debate come, however, from BM
fans, people with medium to high musical competence about the genre.
The concern of these fans revolves around the crossover of the genre from
the unpopular underground to the popularity of indie music culture, a fact
signaled by the success of Deafheaven. Fans tend to respond to the hostility
of mainstream culture by further asserting and promoting heavy metal as
an exclusive subculture. Heavy metal fans, as Weinstein has noted, take
220 Paol a Ferrero
pride in the fact that they listen to good music that outsiders tend to either
misinterpret or denigrate (cf. 143). While metal’s subcultural status has
historically relied on several ‘external’ signifiers such as the long hair, the
leather jackets and tattoos as well as communal gathering places like the
metal festival or the local record store, the music has always been its most
defining factor. Metal is a ‘music based subculture’ (Weinstein 143) in that
it is grounded in the fans’ assumption of its innate greatness. This, in turn,
generates a heightened sense of commitment and social belonging: heavy
metal fans are loyal to their favorite bands and assume a defensive attitude
towards criticism coming from the outside. In other words, heavy metal is
a quintessentially unpopular genre, a fact that fans take as a point of pride
rather than as a defeat.
Some BM fans commenting on Bayer’s article actually indicate elitism
as the force behind BM’s musical quality. They argue that BM’s co-optation
from indie culture will inevitably result in a decline in the quality of the
music as well as a ‘softening’ of the distinctive features of the genres. The
‘selling out’ paradigm is indeed integral to indie music culture. Kembrew
McLeod’s study on the mid-1990s American hip-hop scene has revealed
the dynamics through which a subculture tries to preserve its identity
from mainstream assimilation. He argues that when members of a musical
community
disparage inauthentic symbols of identity and valorise authentic symbols

of identity, they implicate themselves in a larger cultural logic shared
by other cultures and subcultures which face the contradiction of being
inside a mainstream culture that they define themselves against. (51)
BM fans’ fears of co-optation by mainstream culture induce some of them

to assume a defensive posture and single out those features of BM that they
deem authentic (obscure imagery and themes, traditional sound) from those
they feel are inauthentic (mainstream music influences, imagery and style).
Therefore, these fears are exasperated by fans’ own perception, as user
‘Dave Emerson’ puts it, of the genre’s ‘strictly defined boundaries’ (Bayer).
Another user named ‘hi arc tow’ reinforces this idea of BM’s uniqueness by
upholding elitism as a distinctive feature of metal in general. Counteracting
accusations of BM’s lack of musical openness, ‘hi arc tow’ positions the genre
as a force against what he perceives as a mediocre musical panorama. He
asks his fellow commenters: ‘Not open to what?—having a distinct and
difficult musical genre we care about absorbed by the morass of mediocritis-
ing, lowest common-denominator indie/pop/rock that western culture is
saturated in?’ (Bayer) As this last comment renders evident, some fans
share a romanticized view of BM as uncorrupted by the forces of the global
music industry. But as Spracklen points out, BM ‘is part of the Westernised,
commercial pop and rock music industry that has imposed itself on the
rest of the world, and as such BM reproduces the instrumental actions that
govern that industry’ (9). In other words, whatever subcultural capital BM
may afford its fans, the genre produces actual capital for its practitioners
and promoters and is part of the same processes of supply and demand that
characterize mainstream musical cultures. The co-optation of BM by other
musical subcultures becomes therefore a battle for the genre’s identity, one
that is still conceived by many fans as the only alternative to mass-produced
pop or the latest indie fad.
Still other BM fans take a completely opposite view and see BM as
naturally suited to hybridization with other genres. Commenting on
Bayer’s article, user ‘Arif Aksit’ interestingly questions Sunbather’s sudden
success, but most poignantly, he points to BM’s past history of musical
innovation, discarding the reading of Sunbather by indie music critics as
a groundbreaking, genre-altering record. A good number of fans also take
issue with the definition of Sunbather as a non-BM record or a generally
extreme record that transcends BM altogether. This is most evident in the
Nelson article on a ‘post-Deafheaven’ world, where fans competently point
to the preponderance of BM musical elements like tremolo picking, the blast
beat, and the high-pitched screaming vocals in Sunbather. A user named
‘themetalpigeon’ counteracts Nelson’s argument and voices an opinion
shared by most commenters to the article: BM, and metal in general, is
not a static genre and Deafheaven are not revolutionary. As he argues:
‘Metal’s malleability is its core strength after all—long before there were
Alcests and Deafheavens metal was already branched out in a myriad of
different directions with unique styles’. User ‘A. Darryl Moton’ re-asserts
the same concept: ‘I like the new Alcest album, much like I enjoyed the
Deafheaven album, but I don’t think anything truly revolutionary is going
down here–to me, it’s pretty much the same thing that metal’s been doing
since Black Sabbath made blues slower and louder’. These comments show
that musically competent BM fans counter the construction of Sunbather as
a break with the tradition and reject the fable of its threatening nature to the
status quo on two accounts: it is not a genre-altering recording and it is a BM
record. The fans’ reading of Deafheaven’s phenomenal success clashes with
a dubious narrative, constructed mainly by the indie webzines, that sees
new BM bands breaking decisively with a monolithic earlier tradition that
is still staunchly defended by a supposed backlash of close-minded purists.
222 Paol a Ferrero
Even the bands themselves, as evinced for example in Brandon Stosuy’s

interview with Deafheaven and Liturgy on Pitchfork, never repudiate their
BM roots and are quick to acknowledge their debt to traditional bands. In
several interviews after the release of Sunbather, Clarke and McCoy refuse
to be pinned down as ‘controversial’ or of having ‘an outlook or an agenda’
and just point to BM’s ‘underlying beauty’ (Stosuy, ‘Show No Mercy’) from
the very beginning. In an interview with metal webzine Invisible Oranges
McCoy answers a question about his BM ‘touchstones’ by acknowledging his
major influences and unwittingly confirming BM’s evolutionary trajectory:
McCoy: Pretty much all the stuff we’re influenced by is the Ukrainian
stuff like Drudkh or Hate Forest. Or the German bands like Lantlos or
Cold World. More of the atmospheric, post-rock kind of thing. Other than
that the French bands, especially. And I hate that I’m about to say this
but Wolves in the Throne Room and Panopticon are great. [Laughs] Then
early Darkthrone, early Burzum, Ulver.
Deafheaven’s music, as the musicians themselves also seem to imply, is

neither modeled after a ‘blueprint’ of Alcest, nor is it an undefined form
of extreme music that completely transcends BM, but it is rather a further
proof of the evolutionary potential of BM’s musical codes. The linear trajec-
tory became a network after early Norwegian bands ignited BM’s global
expansion. However, this evolutionary narrative of BM clashes with the fact
that the genre’s musical codes are usually perceived as static, monolithic
and thus inaccessible by listeners unfamiliar with the genre. It also clashes
with readings in indie webzines that see Sunbather as a paradigmatic shift
in the genre, and which have an even more controversial subtext: that
Deafheaven’s popularity is a result of this paradigmatic shift, a final aban-
donment of the (problematic) BM heritage. But is this really the case? Have
Deafheaven actually rewritten BM’s musical codes and finally transcended
them, thus rescuing the genre from its undeserved unpopularity? Or is
Sunbather, an excellent album by all accounts, just a further realization of
BM’s incredible evolutionary potential?
Deafheaven’s ‘Dreamhouse’, the opening track from Sunbather, opens
with a somewhat typical buzz-picked chord progression, soon followed
by the blast beat and Clarke’s screaming vocals. What makes Deafheaven
an heir to Burzum’s and Drudkh’s tradition is the centrality of melody.
The layers of guitar, heavily delayed, buzzing and lyrical and the fuzzy
blast beat blend seamlessly with the vocals to create an emotional surge
that relies heavily on melodic crescendos. The song swings from darkness
and ferocity to light and sweet melancholy, an effect both Burzum and
Drudkh achieved through repetition of heavy guitar riffs accompanied
by uplifting, melancholic tremolo-picked melodic lines or sequences of
arpeggios. With Deafheaven, melody becomes a key element of the composi-
tion and the tremolo picked guitar crescendos are as much a product of
post-rock experimentations of bands like Sigur Ros , Explosions in the Sky
and God Speed You! Black Emperor as of the melodic overtures of Burzum
and Drudkh. Deafheaven’s music is not a break or a watershed, but rather
a continuum in BM’s ongoing evolutionary narrative of constant rewriting
of its own musical codes. BM is ‘extreme’ insofar as it has always been the
metal subgenre that has been playing the most with the outer hedges of
metal, its ‘extremities’, so to speak.
Conclusion
The reason for the indie webzine’s increasing coverage of BM resides in the
fundamentally experimental attitude of the genre since its very beginnings.
If we set aside the corpse-paint and the Satanic or Pagan imagery and listen
to it, we will find that precisely because BM is the most extreme of metal
subgenres, always skirting at the edges and playing with other genres,
especially electronic music, dark ambient, drone music, and punk, it is also
the most malleable and experimental, the one most prone to a hybridization
of its core elements. The Norwegian bands of the second wave of BM, far
from remaining monolithic protectors of the traditional ‘true’ sound, have
also continued to deconstruct the genre from within, a fact that has had
a direct consequence on the experimentations of the new BM bands. This
evolutionary reading of BM as it travels from Europe to the US and back re-
inscribes a narrative of continuity that counters some of the indie webzines’
narratives of appropriation, discontinuity and disavowal. One just needs
to listen to the latest record by Norwegian BM veterans Darkthrone, The
Underground Resistance (2012), alongside the music of newcomers Rasperry
Bulbs; or the ‘black’ prog-rock of another BM institution, Enslaved, alongside
the psychedelic experimentations of younger bands like Vattnet Viskar
or Oranssi Pazuzu. Musically speaking the core elements of BM are still
present, but they are mixing with other genres, crossing and disrespecting
boundaries to create new brands of BM. Lyrics express anguish, pain and
frustration with the modern world, with society and with relationships in
a different, maybe more personal language, but the feelings typical of BM
are all there. This is a testament to the fact that BM is today the most vital
224 Paol a Ferrero
subgenre of heavy metal, a genre that contrary to charges of conservative-

ness and insularity is able to reach out of its received boundaries to new
audiences while still retaining a relation with its past.
The progressive cross-over of BM from unpopularity to indie culture
popularity, as epitomized by Deafheaven’s Sunbather, dramatizes the battle
over BM’s contentious identity among old and new fans and between fans
and indie music journalists. The analysis of a selected number of articles
on Deafheaven by critic-fans and the response from fans in the comment
sections has revealed that while both camps share a view of BM as a genre in
constant stylistic evolution, they do not always agree on the actual direction
it is taking. These particular BM fans value important factors such as respect
for the history of the genre and belonging to a musical subculture and resist
readings of BM that reject that history and compromise its identity. In
other words, they use their subcultural capital to assert a kind of ‘righteous’
unpopularity of BM, one that is connected to the history of heavy metal as
a misunderstood niche genre and the fans’ conviction of its innate musical
quality. At the same time, this identification of BM as unpopular allows
them to protect it from co-optation from the mainstream, which they see
as creatively stultified. Conversely, the critic-fans of BM mentioned here
use their own deep knowledge of BM musical codes to create a narrative
of rupture that sees old forms of traditional BM as obsolete and advocates
a new course for the genre paradoxically without or beyond BM. This nar-
rative, as my analysis of Sunbather suggests, is open to contestation and
debate, considering the band’s musical lineage. However, if we go beyond
mere judgment of taste we can see how it is precisely this narrative that
has propelled the band from the BM underground to instant popularity.
Deafheaven’s global reach through such an unpopular genre as BM is in
fact crucially related to the overwhelming power of indie music webzines
and the gatekeeping function of indie music journalists. Older bands, like
for instance Burzum or Darkthrone, were born in an era where web-based
music journalism and internet-based music distribution did not exist. They
created and cultivated a cult following fuelled by fanzines, trade-taping and
specialized printed magazines that enhanced the scene’s circumscribed
(un)popularity and its sense of community. Today, as Deafheaven and
other young BM bands grow in popularity, the ripple effect produced by
heightened media coverage puts BM and its embattled identity under the
(uncomfortable) spotlight.
And now to come full circle. Inquisition’s guitarist Dagon, our infamous
BM ‘purist’, recently pondered over a question about Metal’s broader accept-
ance and coverage outside of the underground:
There is absolutely a wider acceptance of heavy music now. [...] Musician-

ship has evolved. Skills are sky high in every sense and anyone with a
brain knows skill when they see it and hear it. What made metalheads
different from the masses years ago is that we could hear talent through
the muddy productions and looser performances. Today I feel that Metal
is almost the new jazz or classical music. There is tremendous skill and
pushing the envelope is the building block of this music much like clas-
sical music was or jazz. (Steel for Brains interview)
I may be pushing this a little too far, but there seems to be a forbidden
pleasure in redeeming BM from its unpopularity, freezing it in perpetual
elitism and immutability, and positing a ‘post-Deafheaven’ reality, an
almost post-apocalyptic renewal of BM into popular indie culture that
erases its roots and history. But as Dagon reminds us, pushing the envelope
constitutes ‘the building blocks’ of this genre, and its staunch, sought for, and
well-guarded historical unpopularity is linked to this intrinsic experimental
drive and to the ‘cultural awareness’ of it by BM fans. The crossing-over of
BM into the popular realm of indie webzines is just the realization of this
cultural awareness.
Notes
1. Inquisition’s Obscure Verses for the Multiverse received stellar reviews from
most specialized metal webzines (Cvlt Nation and Invisible Oranges, among
others) as well as an 8.1 score from Pitchfork Magazine. See Kim Kelly ‘Al-
bum Reviews: Inquisition: Obscure Verses From the Multiverse’.
2. The act of ‘trolling’, described by the Urban Dictionary as the act of ‘being
a prick on the internet because you can,’ consists of insulting or offending
other people’s opinions and tastes in the comment sections of various spe-
cialized and non-specialized websites in order to spike controversy. Most
webzines, for example Stereogum, apply a certain degree of censorship and
hide particularly offensive comments, while others, like the overwhelm-
ingly popular Pitchfork, have done away with comment sections altogether.
Wired Mat Honan has declared the death of the comment section in favor
of social network services like Facebook and Twitter. I would however coun-
teract that, at least in the case here at hand of music webzines, a carefully
moderated comment section creates very fruitful and focused conversations
among musically literate individuals as opposed to social network’s disper-
sal through information overflow. See, Mat Honan, ‘Comment Sections are
Wastelands Ruled by Trolls. Here are Alternatives’.
226 Paol a Ferrero
3. The term ‘indie’ has quickly come to be used, starting from the 1990s, to de-
scribe the music produced by labels independent of the major record label
system. R.E.M. are often cited as the primary example of an indie band, to-
gether with the meteoric explosion of the Seattle grunge scene, with bands
like Nirvana, Pearl Jam, Soundgarden, Alice in Chains and others. Nowadays
the term ‘indie’ is used in a much looser sense and indicates those artists
walking a fine line between the underground and the mainstream. For more
on the history of the indie genre see Azzerad and Kruse. For a tentative
definition of indie music see Hibbet.
4. Simon Frith defines rock critics as the ‘opinion leaders’ and ‘ideological
gate-keepers’ (Sound Effects 117) of the musical communities they write for.
They become veritable ‘consumer guides for adults’ and are able to stir the
listeners’ tastes concerning the palatability of certain artists and their place
in the pantheon of music history. The process of ‘legitimization’ of BM by
mainstream rock and indie critics constitutes a crucial aspect of the genre’s
problematic relationship with popularity. On the ideological function of
rock music criticism see also Frith, Performing Rites, and McLeod.
5. ‘Online ethnography’ or ‘Netnography’ is a fairly recent anthropological
field, originally developed for marketing and consumer research, dealing
with online communities and online social interactions. For an introduc-
tion to the methodological tools of Netnography see Robert V. Kozinetz,
Netnography: Doing Ethnographic Research Online.
6. Tremolo picking: double picking of the strings at a fast tempo. It favors
chord progressions around arpeggios.
7. Rapid alternating or coincident strokes, primarily on the bass and snare
drums.
8. The growing interest in the history of Norwegian BM, certainly fuelled in
part by the mythologization surrounding Euronymous’s death, has since
spawned a series of publications on BM of which Michael Moyhinian’s
Lords of Chaos: The Bloody Rise of the Satanic Metal Underground (1998) is
the earliest example. However, Moyhinian’s book focuses more on the his-
tory of the Satanic ‘inner circle’ surrounding the scene rather than on the
music itself. A recent, interesting oral history of BM, dedicated but not lim-
ited to the Norwegian scene, is Metalion: The Slayer Mag Diaries, a volume
collecting the Slayer Magazine, a seminal DIY metal magazine published in
Norway between 1985 and 2010 by Norwegian BM ‘insider’ Jon Kristiansen,
aka Metalion. Other recent publications specifically dedicated to BM offer a
more global history of the genre’s musical output, particularly an essay col-
lection edited by Tom Howells, Black Metal: Beyond the Darkness (2012) and
an encyclopedic volume by Dayal Patterson, Black Metal: Evolution of the
Cult (2014). Of specific interest to Norwegian BM is the recent documentary
by Aaron Aites and Audrey Ewells, Until the Light Takes Us (2009), which
features an extensive interview with Burzum’s Varg Vikernes.
9. Gino Stefani’s musical competences are part of a much more complex

categorization of musical codes that takes into account other intra-musical
levels, namely ‘Tecniche Musicali’ (Musical Techniques), ‘Stili’ (Styles),
‘Opere’ (Works), ‘Pratiche Sociali’ (Social Practices) and ‘Codici Generali’
(General Codes). ‘High’ and ‘popular’ competence levels work along these
categories, with high competences being related with the first three catego-
ries and popular competences being related with the last two. See Middle-
ton and Stefani, Il Segno della Musica.
10. To my knowledge, the only essay attempting an analysis of BM’s musical
characteristics (Norwegian BM to be exact) is Ross Hagen’s ‘Musical Style,
Ideology and Mythology in Norwegian Black Metal.’ Hagen rightly laments
the lack of rigorous music theory analysis in most studies on BM in favor of
historical, cultural, literary, or critical theory approaches. It has to be noted,
however, that BM is just part of a larger trend that has seen a progressive
disappearance of music theory from popular music studies and more evi-
dently in music criticism on music magazines and webzines, a fact noted by
jazz historian Ted Gioia in his controversial and much-discussed article on
The Daily Beast, ‘Music Criticism Has Degenerated into Lifestyle Reporting.’
BM fits right into this polemic, since extra-musical elements relating to the
genre’s ideology and presentation have always been an integral part of the
its reception by mainstream audiences.
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Unpopular Culture and the American
Reception of Tinariwen
Barry Shank
‘Compassion […] is the disturbance of violent relatedness.’

—Nancy, Being Singular Plural (xiii)
‘I’m a fuckin’ walkin’ paradox. No I’m not.’

—Tyler, the Creator, ‘Yonkers’
I have been provoked by the topic of this volume, Unpopular Culture,

to address some of the assumptions that traditionally underlie popular
culture studies. Important among those assumptions is the belief that
the spread of popular cultural forms across significant geographic and
political boundaries can be a positive development. Clearly, this is not
necessarily or universally true. Popular culture scholars have not mindlessly
celebrated White appreciation for Black music or the Western appropriation
of non-Western musical styles. I certainly do not assume that the global
spread of American popular culture has produced consistently progressive
consequences. Nor am I asserting the naïve belief that shared tastes equate
to shared political stances. But using a slightly more sophisticated version
of the same belief, in my case based on a theoretical framework that draws
from Chantal Mouffe, Jean-Luc Nancy, and Jacques Rancière, I have claimed
that the spread of popular music implicates new populations in enhanced
and enlarged conceptions of the polis, the political form of the people.1
Voices newly heard as musical are the voices of political persons, humans
demanding to be heard as legitimate participants in political discourse.
In an increasingly integrated global sphere of politics, the sharing of truly
aesthetic pleasure, when geographically and culturally dispersed groups
share the sense that a particular set of sounds are beautiful, can change
the boundaries of the popular. This is not an unchallenged assertion. But
it strikes an important counterpoint to the pernicious yet dominant as-
sumption that cultures are objects that belong to groups as property, as
the source of coherent and incommensurable identities that function as
boundary markers separating us all from each other.2
230 Barry Shank
Raymond Williams was among the first to argue that popular culture was
the culture of the people and should be analyzed from a perspective alert
to their particular characteristics and needs. Following standard Marxist
thinking, the category of the people was defined by class, and the culture
of the people could be known by observing what the people listened to,
read, and watched (cf. 306–12). But we know now that cultures do not have
boundaries; they have threads that interweave across communities and
geographies, defying any effort to keep them in their place. Our historical
moment is one of intense and rapid change, where traditional organizations
of sounds and traditional organizations of life are being engulfed by global
waves of violence. This is not a time when political or musical boundaries
stand still. Popular music in itself cannot stop war, but newly arranged
timbres, scales and beats can create new musical aesthetics that ratify a
world of sound and meaning shared across borders. When a new sense of
musical beauty spreads across new listeners, a different sense of the political
world is produced. This aesthetic process of changing the boundaries of
the political is not a popular one in the traditional sense. Indeed, it could
be understood as one of the key gestures of truly unpopular culture as it
challenges common sense conceptions of the people.
It is not obvious what happens when people from opposite sides of
the planet share a sense of musical pleasure. Is it possible for that shared
aesthetic to change the shape of the political in a meaningful way? This
essay examines the case of Tinariwen, a band of Tuareg or kel Tamashek
musicians who have been among the leading groups developing a particular
style of what the West has come to call ‘desert blues’. Over the past decade, as
the Western popularity of Tinariwen’s music has increased, political chaos
has descended upon Mali, the nation state that stands upon the ground
from which Tinariwen and Tuareg music emerged. Over the past several
years, this turmoil has intensified, with multiple armies swarming across
the northern portion of Mali. In this example, it might be worth asking what
political force can music have in the face of war’s destruction.
During this recent period of turmoil, Tinariwen has been continually
on the road, performing across Europe and North America. Their Anglo-
American following is drawn by the sounds of their guitars and assumptions
about the cultural histories those sounds carry with them. Curious listeners
to their earlier recordings were hailed by comments in Pitchfork reviews
like this one where Joe Tangari described their 2007 album, Aman Iman:
The music of Tinariwen is at once exotic and familiar—the scales and

arrangements are as strange to our ears as the language they sing in,
Unpopul ar Culture and the American Reception of Tinariwen 231
but there’s a force operating on a more subliminal level that unites it to

something rattling around inside anyone who was brought up on blues or
rock & roll. It’s music of longing and rebellion, weary wisdom and restless
energy, and it sounds so, so good. (‘Aman Iman’)
When reviewing Tinariwen’s 2009 album Imidiwan, the same writer evoked
the social context for its production, describing the ‘intermittent violence
and displacement’ the Tuareg people experience ‘as they’ve fought to main-
tain their culture and lifestyle in a world that isn’t built to accommodate it’
(‘Imidiwan’). Listening to these recordings, the disproportionately young
white male readers of these Pitchfork reviews could imagine a soundscape
that integrated sounds both familiar and exotic, guitar drones amid North
African scales, non-English lyrics—mostly Tamashek, but some French—
repeated with strophic phrasing, within a contemporary geopolitical
struggle, conjuring the associations of global black music with the drive
for human emancipation. ‘The blues is present’, says Tangari, ‘as a sense of
intense longing and defiance in the face of despair that hums in sympathetic
vibration with its trans-Atlantic cousin’ (‘Aman Iman’). In these reviews,
Tinariwen is misrecognized as a modern inheritor of the blues impulse. On
first hearing, their music sounds like the blues created by Black Americans,
and therefore we are to assume that the struggles experienced by the Tuareg
are akin to Black Americans’ struggles for freedom.
The power of this set of assumptions can be understood through a
concept developed by Roshy Kheshti called the ‘aural imaginary’, which
has significant implications for all forms of listening, perhaps especially
the initial listening that might be the first step towards the emergence of
new political communities. The first encounter of new sounds, that moment
when we begin to sort those sounds into musical categories, is fraught.
Inevitably, a kind of misrecognition occurs that results not only from the
extreme differences between the social contexts of the music’s origin and
the contexts of the music’s hearing, but also from deeply held and nearly
unconscious assumptions about the social meanings of particular sounds
(cf. Kheshti 711–31).3 In this case, Tinariwen’s droning guitars and deep
masculine voices reverberate off ear canals trained by decades of rock’s
romanticization of the blues impulse and stimulate the longing for political
music that haunts the aural imaginary of many American listeners. At
least one commentator from 2007 had a more accurate understanding of
Tinariwen’s context. Robert Christgau wrote in a review of that same album
Aman Iman: ‘What’s sought isn’t your affection, but your respect.’ He went
on to quote a translation of one line from the song ‘Tamatart Tilay’, ‘We
232 Barry Shank
kill the enemies and become like eagles. We’ll liberate all those who live in
the places’. Christgau reminded his readers: ‘This is not a metaphor. They
are talking about killing’. But he stood out from the crowd. Most American
reviews were shaped by romantic associations of blues music with civil
resistance and political progressivism.
The effects of the audible imaginary were not limited to US-based listen-
ers. When Tinariwen toured the UK a few years ago, Thomas Jones wrote in
Crack magazine: ‘As dedicated to their music as they are to their struggle
for independence, Tinariwen are the ultimate rebel rockers’. Yet in the
same article, Jones quotes Ibrahim Ag Alhabib, one of the band’s founding
members, saying, ‘Our message is about who we are as people. We are doing
music that comes from our ancestors, with electric guitars, but with the
lyrics, the rhythms and the ambience from our heritage. So we are musicians
first, but the voice of our people at the same time’. Articulating a classic
understanding of the popular, Ag Alhabib insists that Tinariwen’s music is
traditional, rooted in a local heritage of musical performance.
The melodies and rhythms that sound both exotic and familiar to the
carefully nurtured Anglo-American audience emerge from a tradition of
guitar-accompanied warrior praise songs called ichumar or alguitara. (Ichu-
mar is the local word for the unemployed. Alguitara refers, of course, to the
instrument.) It is an adaptation of a slightly (but only slightly) older traditional
style called teherdent. As the ethnomusicologist Nadia Belalimat outlines
it, the teherdent style features both male and female singers, the women
alternating ululations with the men’s chants. The instrumentation is sparse,
featuring rhythms beat out on a tinde drum reinforced by handclaps, while
the melodies are echoed on the three-sting lute from which the style takes its
name. Originally a style that was performed only by local musicians, predomi-
nantly women, for an audience of extended family and friends, its orientation
shifted outward during the 1960s. Belalimat notes: ‘Many musician-artisans
started performing outside their own lineage affiliations in order to provide
for themselves, since their former employers could no longer support them’
(160). The teherdent style adapted to the guitar when that instrument spread
across the region. The guitar could be both louder and more percussive than
the teherdent, and it was just as easy to carry. When the Tuareg resistance
began again in the late 1980s, the instrument quickly became metonymi-
cally linked to weapons of rebellion. Another of the founding members of
Tinariwen, Keddou Ag Ossad, was praised for riding into battle with a rifle
in one hand, a traditional saber in the other, and his guitar on his back (cf.
Rasmussen 643). As Rasmussen explains, ‘in the early ichumar music, the
composers, performers, and audience all were combatants’ (635). Rasmussen
goes on to say, ‘Early ichumar songs were composed by one rebel to praise
another and were performed by the composer or the subject of praise in a
tightly knit ‘circle’ of mutual support’ (639). As the alguitara or ichumar style
developed, recordings of this music were banned by the Malian government
and circulated only via underground cassette copies.
Just as the musical style itself emerged from local conditions, the musi-
cians of Tinariwen did not inherit the legacy of the trans-Atlantic slave
trade, although apparently they have their own history of slave-trading.
The Tuareg are an ethnic group often included among the Berbers, but
distinguished by their language, Tamashek. When France’s North African
colonies achieved independence in the 1960s, they found their traditional
territory divided among the nations of Mali, Niger, Burkina Faso, and Alge-
ria. At the time of decolonization, the Tuareg were a mostly nomadic people,
who herded cattle along the Niger River. Their way of life was increasingly
threatened by the modernizing projects transforming the region’s economy.
Post-colonial national boundaries made little sense to people who drove
their cattle anywhere water and grass could be found. In addition a long
drought period greatly reduced the landscape’s ability to support nomadic
groups and their animal herds (cf. Zoumenou).
One of the results of these environmental and economic pressures was
the Tuareg rebellion. The Tuareg had spent decades resisting French colonial
domination. In 1960, when the new state of Mali was created, it forced
different people with no independent history of political cooperation into
one national formation. The Tuareg saw no reason they should cooperate
with the Malian government centered in Bamako, in the southwestern
region. Vastly different ways of life combined with elements of racial tension
(Government officials were largely Black Africans, while Berbers like the
Tuareg are more light-skinned) to provoke a decades-long conflict that has
gone through periods of greater and lesser violence. Under environmental
and developmental pressures, the Tuareg social world has been fundamen-
tally transformed. The traditional self-sufficient way of life is now nearly
completely eradicated. From its early days, the government of Mali had
inherited a crippling debt, which was enforced by the World Bank, depriving
the government of resources that could have eased some of the tensions.
Almost no money was available for further development in the North (cf.
Prashad). Many Tuareg moved south into the cities, where the formerly
incomprehensible idea of unemployment, something that makes no sense
to a nomadic people, became a lived reality (cf. Lecocq).
Some of the former Tuareg warriors moved to Libya where they joined
with Gaddafi’s forces, gaining modern training and weapons. Several of the
234 Barry Shank
musicians in Tinariwen, including Ibrahim Ag Alhabib, the most senior

member of the band, and fellow founder Abdullah Ag Alhousseini, met
during the 1980s in camps in Libya while undergoing military training
conducted by Gaddafi’s army. This camp encounter is a central node in the
narrative that links the sounds of Tinariwen to the romantic image of the
camel-riding rebel (cf. Eyre).
After the fall of Lybia in 2011, armed struggle broke out again in northern
Mali. The National Liberation Movement of Azawad (MNLA), the political
group that Tinariwen identifies with, was reinvigorated when its leader
made an alliance with a more religiously motivated group called Ansar
Dine (Defenders of the Path) in an effort to separate Azawad from the rest
of Mali. The rebellion received a military boost when highly disciplined
fighters identified with Islamic fundamentalist groups joined the rebellion.
These forces quickly drove the relatively lackluster Malian army from the
region and declared independence for Azawad (cf. Smith).
During an early 2012 tour of the UK, Ag Alhabib described the struggle
this way:
‘This year is a special year. Although the first rebellion started in 1963,
we have never been as strong as the rebellion has this year. The MNLA
is controlling 2/3 of Mali in the North, and we need to stay strong and
fight for our autonomy, we want to find a deal with the international
community and with the Malian government’. (Jones, ‘Tinariwen’)
On the ground in Mali, however, military leaders associated with the Tuareg
had slaughtered dozens of the remaining Malian soldiers. The violence
involved in the loss of the region was enough to prompt a change of national
government in Bamako. In the ensuing governmental gap, the foreign fight-
ers began setting up Islamic governments. By July 2012, these governments
controlled most of the region. The worst punishments of Shari’a law were
enacted against the remaining dark-skinned inhabitants. As Andy Morgan,
former manager of Tinariwen, describes it: ‘Almost all the condemned were
‘black’ Songhoi or Bozo men. Almost all those who judged them were ‘white’
or lighter skinned Arabs, Touareg or foreigners’ (19).
As amputations and stonings stoked the racialized divisions in the
country, a general proclamation went out over Azawad:
‘We, the mujahedeen of Gao, of Timbuktu and Kidal, henceforward forbid

the broadcasting of any Western music on all radios in this Islamic ter-
ritory. This ban takes effect from today, Wednesday. [22 August 2012]
We do not want Satan’s music. In its place, there will be Quranic verses.
Shari’a demands this. What God commands must be done’. On that day,
Tuareg music was banned in their own homeland. When a large group of
Malian musicians drawn from a wide range of different styles recorded a
special song of unity, ‘Voices United for Mali’, no one from Tinariwen, or
Terakaft, or Tartit, the leading Tuareg bands, participated. (Morgan 21)4
Consequently, Tinariwen’s new album, Emmaar, was recorded in the Mojave

desert in California. My copy of the album came with a sticker attached
to it quoting Bob Boilen, the host of NPR’s ‘All Songs Considered’ and their
leading popular music critic. It says ‘Let’s get one thing straight: Tinariwen is
just about the best guitar-based rock band of the 21st Century’. That sentence
became a key marketing tool in the promotion of the band’s most recent
tour of the US as well as the new album. Fully in line with the history of the
band’s marketing strategy and ignoring the messy details of the ongoing
conflict, this quote situates Tinariwen in a language of rock and guitars,
foregrounding the commonality between their music and the music listened
to by the baby boom generation and generation X, which form the largest
age demographic of NPR listeners. Having grown up with experience in
or at least some awareness of the US Civil Rights movement, this group
of listeners is primed to hear the musical similarities between Tinariwen
and the blues musicians of the late 1950s and 60s. Through the associations
channeled by the aural imaginary, Tinariwen’s status as romantic rebels
fighting for justice is reaffirmed.
Initial reviews of the album were quite positive and, in general, bet-
ter informed than reviews of the earlier albums. Many reviewers com-
mented on the power of Tinariwen’s ‘backstory’, however, without trying
to comprehend its complexity. Pitchfork’s Tangari begins his review with
his standard reference to the Sahara and insists that the ‘music still moves
like a sandstorm’ before going on to discuss specifics of the new album’s
sound. NPR’s Anastasia Tsioulcas writes: ‘Despite the pain and politics
that surround Emmaar’s birth, it’s a pleasure to hear how Tinariwen keeps
finding new ways to translate the soul of the Sahara for fans around the
world’. Writing for the online source The 405, Lyle Bignon is slightly more
self-aware as he comments on ‘how difficult it often is for us, the Western
listener, to understand the cultural and social values of Touareg musicians’.
He continues: ‘Maybe, even in this uber-connected and super globalized era,
Western audiences are still—generally speaking—far removed from the
less-documented struggles of life […] in the West African country of Mali’. In
his piece for The Quietus, Richie Troughton essays a more detailed discussion
236 Barry Shank
of Ibrahim Ag Alhabib’s biography and the cassette-only era of the band.

Enough context is provided that the lyrics quoted at the end of the review
from ‘Agregh Medin (I Call on Man)’ carry significant affective power: ‘I no
longer believe in unity / I will only believe in it again if those opinions serve
a common ideal: That of the people from which they emanate’.
The best of the recent review pieces appeared in the Noisey blog sponsored
by Vice magazine. There, Zachary Lipez gives the most detailed account of
the current situation that Tinariwen face in Mali. The account is presented
as a series of difficult and questionably translated interview exchanges with
guitarist and bassist Eyadou Ag Leche. By foregrounding the translation
problems, Lipez lets his readers know that there is more to Tinariwen’s story
than he can tell them and that multiple barriers lie between his readers and
these musicians’ lives. There is nothing reductive about this move. Instead,
it is an effort to get beyond what Lipez terms ‘dervishes on the sands of
time, grad school othering hokum’, which is how he more or less accurately
characterizes so much of the journalism about Tinariwen. After stating a
number of caveats about uncertain linguistic equivalencies, Lipez asks
Ag Leche detailed questions focusing on the band’s songwriting practices
and how they feel about the intervention of the French military. In his
questioning, Lipez treats Eyadou as a fully political subject with his own
complex opinions, not as a representative of an otherwise faceless mass.
Working through the translator, the musician says:
‘France decided to make these borders 50 years ago. France came into
this conflict when it was a bad issue so I’m glad they came…but hopefully
they will leave. Hopefully they won’t take everything. But the French
know EXACTLY what the situation is. We don’t know what the French
will give to us. Maybe they will help or maybe they will just make more
borders and work with the bad politicians. So, actually, we don’t know. It’s
a long bad history with the French. We don’t know what they’re bringing
now’. (Lipez)
In Lipez’s version of the translator’s version of Eyadou’s words, the political

situation of being an outside observer of the military imposition of a cease-
fire creates a precise context for the opening lyrics of ‘Toumast Tincha’, the
first track on Emmaar. Here also translated: ‘The ideals of the people have
been sold off cheap, my friends. Any peace imposed by force is bound to fail
and give way to hatred’. Set in a musical frame more fully polished and pro-
duced than any recording previously released by the band, this sentiment
reinforces the determination and insistence that lies behind Tinariwen’s
lengthy career. The guitars on this track are layered with echo, and the
drones that anchor the band’s sound are played on a pedal steel guitar. The
song begins with spoken words in English intoned by Saul Williams. From
production style to instrument choice to the first appearance of English
words on one of their tracks, this recording addresses its Anglo-American
audience more directly and clearly than Tinariwen ever has before. The
touring in support of the album has been incessant. In 2014, they played
over 130 shows solely in Europe, the UK and the US.
The video for the song, however, presents a visual narrative of isolation
and alienation. Ibrahim Ag Alhabib rides in the back of a car across the
Mojave. No other humans are shown. During most of the video, the camera
shoots out the window of the moving car, showing only the desert racing by.
Railroad tracks, electrical lines and poles, and the occasional speed limit
sign break up the flow of unpopulated dust, scrub trees and hills. As the
song comes to its end, the car pulls up to a fire, suggesting the presence of
others, but not showing them. Finally, the camera pans up, revealing a few
old amplifiers waiting alone. The video makes clear the absence of a public
for whom the band performs, the disappearance of the deep connection
with an audience that grounds the pleasures of popular music, despite the
fact that their popularity in the West continues.
In this way, these Tuareg musicians exemplify the category of unpopular
culture. With their homeland devastated, Tuareg musicians have become
migrant workers moving from f ield to f ield, concert house to concert
house, laboring where the opportunity arises, touring the West, perform-
ing music that draws rapturous crowds, negotiating marketing images
and promotional narratives that misrecognize the political significance
of their music. Tinariwen and their fellow Tuareg musicians continue to
extend their musical offerings to crowds that do not understand their lyrics
and that often subsume their struggles into a monolithic category of rebel
rockers derived from an earlier moment in musical and political history.
Yet, this misrecognition makes possible their financial survival. Ironically,
in this way they have become more like the great blues performers of the
mid-twentieth century who found white college students listening to them
after their black audiences had moved on to soul and hard-bop. Perhaps this
is the true link between desert blues and the older form. Both musical styles
became globally popular with White Western audiences at the moment
when their sounds no longer connected organically with their original
conditions of production. Both musical styles look backwards even as they
sing the future possibility of a larger political community, one not divided
by violence but connected through the shared experience of musical beauty.
238 Barry Shank
Returning their music to the complexities of its context does not situate
Tinariwen as political innocents nor as heroic rebel rockers. While many of
their Western fans retain a blurred picture of that context and a romantic
framework for their listening, the advance in journalistic response evi-
denced in Lipez’s analysis suggests that the experience of musical beauty
is generating a drive towards a more full understanding of the complexi-
ties demanded of a more expansive political community capable of truly
recognizing the range of combatants in North Africa. This suggests that
the inevitable misrecognition that frames all listening to truly new music
can be and indeed often must be the first step towards the interrogative
listening that invites the transformation of political community. Thus, the
unpopular sows the seeds of a popular to come.
Notes
1. Portions of this chapter were first published in the ‘Coda’ to my book The
Political Force of Musical Beauty. Thank you to Duke University Press for
permission to reprint.
2. For a sample critique of the concept of culture as a bounded whole, see
Crehan 36–66.
3. Bob White makes a similar point in ‘The Promise of World Music: Strategies
for Non-Essentialist Listening’ when he asserts that consuming world music
often leads to essentialist assumptions about the culture that produced the
music. His analysis of the problem is less subtle than Kheshti’s, however,
relying as it does on an unnecessary one-to-one link between musical style
and cultural identity for his own position as well as the listening practices
he critiques. But his list of strategies for avoiding essentialist listening is
useful.
4. See also Whitehouse 17–18.
Works Cited
Belalimat, Nadia. ‘The Ishumar Guitar: Emergence, Circulation & Evolution from Diasporic
Performances to the World Scene.’ Tuareg Society within a Globalized World. Ed. Anja Fischer
and Ines Kohl. London: I.B. Tauris, 2010. 155–70. Print.
Bignon, Lyle. ‘Tinariwen—Emmaar’. The 405. 25 Feb. 2014. Web. 7 Apr. 2016.
Christgau, Robert. ‘Consumer Guides: Tinariwen’. Robertchristgau.com. Web. 7 Apr. 2016.
Crehan, Kate. Gramsci, Culture and Anthropology. Berkeley: U of California P, 2002. Print.
Eyre, Banning. ‘Tinariwen’s Abdullah Ag Alhoussein Talks About Mali’. Afropop Worldwide.
3 July 2012. Web. 7 Apr. 2016.
Hirsch, Afua. ‘Islamic Extremists Face Citizen Uprising in Mali’. The Guardian 17 July 2012.
Web. 7 Apr. 2016.
Jones, Thomas. ‘Tinariwen’. Crack. 12 Sep. 2012. Web. 7 Apr. 2016.
Kheshti, Roshanak. ‘Touching Listening: The Aural Imaginary in the World Music Culture’.
American Quarterly 63.3 (October 2011): 711–31. Print.
Lecocq, Baz. ‘Unemployed Intellectuals in the Sahara: The Teshumara Nationalist Movement
and the Revolutions in Tuareg Society’. IRSH 49 (2004): 87–109. Print.
Lipez, Zachary. ‘Tinariwen Talks “Emmaar”, Politics, and Working with Matt Sweeney’. Noisey.
20 Feb. 2014. Web. 7 Apr. 2016.
Morgan, Andy. Music, Culture and Conflict in Mali. Barrington: Freemuse, 2013. Print.
Mouffe, Chantal. The Return of the Political. London: Verso, 1993. Print.
Nancy, Jean-Luc. Being Singular Plural. Trans. Robert D. Richardson and Anne E. O’Brien,
Stanford: Stanford UP, 2000. Print.
Prashad, Vijay. ‘What’s Happening in Mali?’ Counterpunch. 28 Oct. 2009. Web. 7 Apr. 2016.
Rancière, Jacques. The Politics of Aesthetic: The Distribution of the Sensible. Trans. Gabriel
Rockhill. New York: Continuum, 2004. Print.
Rasmussen, Susan. ‘Moving Beyond Protest in Tuareg Ichumar Performance’. Ethnohistory 53.4
(Fall 2006): 633–55. Print.
Shank, Barry. The Political Force of Musical Beauty. Durham: Duke UP, 2014. Print.
Smith, Stephen W. ‘In Search of Monsters, On the French Intervention in Mali’. London Review
of Books 35.3. 7 Feb. 2013. Web. 7 Apr. 2016.
Tangari, Joe. ‘Aman Iman: Water is Life’. Pitchfork. 4 Apr. 2007. Web. 7 Apr. 2016.
—. ‘Imidiwan: Companions’. Pitchfork. 13 Oct. 2009. Web. 7 Apr. 2016.
—. ‘Tinariwen, Emmaar’. Pitchfork. 10 Feb. 2014. Web. 7 Apr. 2016.
Troughton, Richie. ‘Tinariwen—Emmaar’. The Quietus. 11 Mar. 2014. Web. 7 Apr. 2016.
Tsioulcas, Anastasia. ‘First Listen: Tinariwen, “Emmaar.”’ Music.com. 2 Feb. 2014. Web. 7 Apr. 2016.
White, Bob. ‘The Promise of World Music: Strategies for Non-Essentialist Listening’. Music and
Globalization: Critical Encounters. Ed. Bob White. Bloomington: Indiana UP, 2012. 189–217.
Print.
Whitehouse, Bruce. ‘What Went Wrong in Mali?’ London Review of Books 34.16. 30 Aug. 2012.
Web. 7 Apr. 2016.
Williams, Raymond. Culture & Society: 1780–1950. 1958. New York: Columbia UP, 1983. Print.
Zoumenou, David. ‘West Africa: The Sahel—Is There a Solution to the Tuareg Insurgency?’
AllAfrica. 20 Mar. 2012. Web. 7 Apr. 2016.
Cultural Studies and the Un/Popular
How the Ass-Kicking Work of Steven Seagal May Wrist-
Break Our Paradigms of Culture
Dietmar Meinel
‘Steven Seagal. Action Film. USA 2008.’

—German TV Guide
The first foreigner to run an aikido dojo in Japan, declared the reincarna-
tion of a Buddhist lama, blackmailed by the mob, environmental activist,
small-town sheriff, owner of a brand of energy drinks, film producer, writer,
musician, and lead in his first film (cf. Vern vii), 1980s martial arts action
film star Steven Segal is a fascinating but often contradictory figure. Yet,
Seagal is strikingly absent from the contemporary revival of seasoned
action-film heroes such as Sylvester Stallone, Arnold Schwarzenegger, Bruce
Willis, Jean-Claude Van Damme, Dolph Lundgren, and Chuck Norris in
The Expendables (2010), The Expendables 2 (2012), and The Expendables
3 (2014). In contrast, ‘starring’ in up to four direct-to-video releases each
year over the last decade, Seagal has become a successful entrepreneur of B
movies. The (very) low production values of these films, however, highlight
rather than conceal his physical demise as incongruent, confusing, and
Godard-style editing replaces the fast-paced martial arts action of earlier
movies. While his bulky body has become a disheartening memento of his
glorious past, his uncompromising commitment to spiritual enlighten-
ment and environmental protection arguably elevates him above the mere
ridiculousness of his films.
In this essay, I will explore Seagal and his oeuvre as he moved from ac-
claimed martial arts action star to bizarre media figure in order to devise a
framework for un/popular culture. By reading the thirty-year long career of
Seagal as consistently unpopular and consistently popular, I appropriate and
utilize what James Storey describes as the ‘absent other’ (1). In Cultural Theory
and Popular Culture (2010), Storey draws attention to the dualistic dimension
of any attempt to define the popular. Since most conceptualizations juxtapose
the popular with an ‘absent other’—whether folk, high, or working-class
culture—any analysis will be ‘powerfully affect[ed by] the connotations
brought into play when we use the term “popular culture”’ (Storey 1).
242 Die tmar Meinel
Indeed, def initions of popular culture and its absent others utilize
quantitative and qualitative categories. In his Keywords (1983), for ex-
ample, Raymond Williams describes popular culture as a phenomenon
‘well-liked by many people’ to which ‘well-liked by few people’ functions
as its unpopular other. While to be ‘disliked by many people’ constitutes a
second other in the example, this notion of a detested, yet widely known
phenomenon suggests an additional dimension of the un/popular. Rather
than a quantitative assessment, the popular can, as Williams maintains,
also designate ‘inferior kinds of work (cf. popular literature, popular press as
distinguished from quality press); and work deliberately setting out to win
favour (popular journalism as distinguished from democratic journalism,
or popular entertainment)’ (237, emphases in original). Although differ-
ent qualities define the value of a text (independent of its quantitative
distribution), often high art serves as this absent other of popular literature
or entertainment. In Williams’s example, the notion of a ‘democratic jour-
nalism’ also foreshadows a third category of the popular in addition to its
quantitative (known vs unknown) and qualitative dimension (inferior
culture vs high art). As Williams also deems popular culture to represent
‘the culture actually made by people for themselves’ (237), in this Marxist
understanding of popular culture, an authentic culture of the working class
or ‘the people’ exists that functions as a space of resistance against capitalist
appropriation and commodification.
Similarly, among the six definitions of popular culture James Storey of-
fers, the notion of popular culture as a quantitative measure, an anti-thesis
to high art, and as a (authentic) culture of the people figure prominently.
Even when Storey lists definitions describing the popular as ‘mass culture’,
as part of the ideological apparatuses, or as an essential feature of hegemony
(cf. 5–12), these latter notions all delineate a political function as well. In
this sense, Storey’s definitions equally underscore the quantitative, the
qualitative, and the ideological or conceptual dimension of popular culture
that Williams alludes to. Linked to each other even in their absence, thus,
the notion of the popular, the unpopular, and high art necessitate a shared
conceptual framework I label the un/popular.
Having appeared (and often starred) in over forty films, Steven Seagal
experienced the height of Hollywood blockbuster popularity and the lows
of direct-to-video unpopularity as he evolved from promising action film
performer to blockbuster star to direct-to-video celebrity in the course of his
career. This eventful trajectory from box office draw to low-budget entre-
preneur serves to designate the intimate connections between the popular
and the unpopular—and allows me to assess the quantitative dimension of
Cultur al Studies and the Un/Popul ar 243
the un/popular by looking at the commercial success and failure of his films.
Given that the actor developed and maintained a particular Seagal formula
inseparable from his public persona in his films, his music, and TV shows,
Seagal also mirrors auteur practices and postmodern authorial strategies.
Since the martial artist further advocates an environmentalist position
in his otherwise sensationalist action f ilms, Seagal also echoes those
post-postmodern theories that link postmodern metafictional play with a
‘sincere’ desire for political consciousness (cf. Saldivar, ‘Historical Fantasy’
593–96). In appropriating auteur theory, postmodern performativity, and
notions of the post-postmodern, I analyze the cultural text ‘Steven Seagal’
within the context of high art and investigate the qualitative dimension
of the un/popular in order to question the dichotomous construction of
inferior popular art versus superior (and unpopular) high art. So instead
of attempting to understand the popular, the unpopular, and high art as
autonomous, individual phenomena, I explore their numerous links to
provide a first understanding of Steven Seagal’s un/popularity.
Yet, when Martin Lüthe and Sascha Pöhlmann characterize the unpopu-
lar as ‘that which is not part of a (perceived) mainstream mass culture but
not part of a bourgeois high culture either’ (18) in their introduction to
this volume, both situate the phenomenon in-between high and popular
culture and call attention to the individual quality of the unpopular. Look-
ing at unpopular texts may broaden our prevailing paradigm of culture,
particularly because the abscence of popularity (as a quantative measure)
and high cultural ascriptions often justify a disregard for these texts. Since
scholars refer to either the artistic quality of a text or its widespread recep-
tion to legitimize the study of a particular phenomenon, in this logic, texts
only possess validity if they are representational—of a particular social
formation, period, or idea (cf. Hatt and Klonk 22–25). Due to its (absence
of) particular qualities, unpopular culture disrupts this Hegelian notion
predominant in literary studies and cultural studies. Indeed, unpopular
texts function poorly as representations of their period and their social
formations, because hardly anyone reads, watches, or appraises these
productions. Unpopular culture such as the later Seagal productions even-
tually question this representationalist paradigm and necessitate novel
approaches to conceptualizing culture.
244 Die tmar Meinel
From Box Office Draw to Home Entertainment Entrepreneur
In his first four films, Above the Law (1988), Hard to Kill (1990), Marked for
Death (1990), and Out for Justice (1991), Steven Seagal established himself
as a promising action film performer. Because all of the films grossed a
multiplicity of their production costs at the box office,1 Seagal’s first four
releases must be considered successful genre productions.2 His films did
not rival the commercial success of the most popular action films of the
late 1980s—Top Gun (1986) or Die Hard (1988)3—but Seagal could compete
with the established stars of the genre. Although Sylvester Stallone and
Arnold Schwarzenegger had paved the way for the action film hype of the
1980s, their films often did not perform better at the box office or match
the revenues of the Seagal films. 4 Judging by the people willing to see his
films, Steven Seagal has to be considered popular in the period from 1988
to 1991—particularly within the context of the action film genre. The com-
mercial success of his early films propelled Seagal to star in the high value
productions Under Siege (1992), On Deadly Ground (1994), Under Siege 2
(1995), and Executive Decision (1996). In these films, Seagal was supported
by well-established actors such as Michael Caine or Tommy Lee Jones or
starred alongside Kurt Russell and Halle Berry. But when the last three of
these high-value productions failed at the box office, the commercial fiascos
initiated his descent into direct-to-video obscurity.5 As his follow-up produc-
tions Glimmer Man (1996) and Fire Down Below (1997) led to even greater box
office losses,6 his next film, although initially planned for cinematic release,
was eventually exclusively distributed in video stores: The Patriot (1998) thus
ushered in a period of direct-to-video productions. Although Seagal reap-
peared on the silver screen two additional times with mixed success—in
Exit Wounds (2001) and Half Past Dead (2002)7—his box office career ended
in 1998 and was supplanted by a long-lasting one in direct-to-video projects.
Starring in films exclusively released for the (rental) video, DVD, and Blu-ray
market, Seagal maintained a vocation in film with almost no significant
commercial success to merit high-value productions again.8 Although his
following 23 releases in nine years (2001–2010) generated enough revenue
to continuously finance his next video endeavor, the martial arts actor
Steven Seagal has virtually disappeared from public notice since the late
1990s. While his name may still ring a bell even among people uninitiated
to his films, Seagal has become a faint memory of some cult 1980s action
films or a synonym for cheap and obscure B movies.9
This transformation from blockbuster draw to obscure media figure
represents a decisive quality of the Seagal phenomenon. In contrast to
similarly cult and obscure 1980s action stars such as Jean-Claude van
Damme or Chuck Norris, Seagal actually became popular starring in high-
profile action films.10 But in contrast to Stallone, Schwarzenegger, or Willis,
Seagal eventually disappeared from (big budget) silver screen productions to
submerge in the (quantitative) meaninglessness of direct-to-video releases.
While other actors build a more popular or a more unpopular career, Steven
Seagal functions to exemplify the quantitative aspects of the un/popular.
As Seagal also appropriates a variety of high-art strategies throughout the
popular and unpopular phases of his career, his oeuvre allows us to similarly
explore the ways in which his auteur performance and post-postmodern
practices further shape the un/popular. Much as Seagal’s commercial
un/popularity, the artistic continuity in his work contests the traditional
high art (unpopular) and low culture (popular) divide.
Performing the Post-Postmodern Auteur
French auteur theory considers directors to be authors who express their

aesthetic and political visions through f ilm. With its inception in the
Cahier du Cinema in the 1950s, auteur theory—or la politique des auteurs,
as Francois Truffaut first named the approach in his article ‘A Certain Ten-
dency in the French Cinema’ (1954)—attempted to alter the status of films
and directors. ‘[A] director must exhibit certain recurrent characteristics
of style, which serve as his signature’ (132), asserts Andrew Sarris when
introducing auteur theory to the Anglophone world in ‘Notes on the Auteur
Theory in 1962’. In connecting the feel, the look, and the meaning of a film
to the thoughts and ideas of its author-director, auteur theory ascribes a
‘distinguishable personality’ to directors and defines these men and women
to be the ‘criterion of value’ (Sarris 132). Since motion pictures had not been
considered a valid form of art well into the 1950s and cinematic texts were
consigned to the realm of ‘mass culture […] commonly dismissed with terms
such as “entertainment” and “escapism”’ (Wexman 3), the rationale behind
appropriating literary theory for film analysis thus attempted to elevate the
works of a small number of directors to the status of high art. In acknowledg-
ing the limits set by the demands of the commercial Hollywood production
system, auteur theory furthermore locates the artistic quality of a director
in privileged moments of a film, which urges critics ‘to master the entire
body of a director’s output (or oeuvre) so that a pattern of these privileged
moments of personal vision could be discerned’ (Wexman 3). Because of its
emphasis on the entire corpus of an auteur-director, its appreciation of the
246 Die tmar Meinel
necessities of commercial production modes, and its desire to define film

as high art, auteur theory offers a valuable frame within which to situate
the work of Steven Seagal.
But since no one considers Seagal a particularly artistic director and he
has only directed one film in his entire career, auteur theory may appear
impracticable and inadequate for his work. By starring in most of his 42
films, however, Steven Seagal is an apt example of what pop critic Vern
labels the ‘Badass Auteur Theory’ in his Seagology: A Study of the Ass-Kicking
Films of Steven Seagal (2012). In this theory, the ‘badass (or star) […] carries
through themes from one picture to the next […] it is the star that connects
the body of work more than the director’ (Vern v). This augmented version
of auteur theory acknowledges and privileges the coherence stars create
over the course of their films.
In many respects, the characters played by Seagal encourage such a
comparative approach. From his early performances in the 1980s on, Seagal
established a narrow set of character traits his later roles continuously
rehearse:
enlightened men with shadowy CIA pasts, westerners with expertise in

Asian ways (aikido, swords, herbology, Buddhism), various types of mafia
(Italian-American, European, Asian), music (blues, bluegrass, reggae,
much of it performed by or written by Seagal himself), the protection of
animals or the environment. (Vern vi)
As Seagal films ‘always end up featuring some of his obsessions’ (Vern vi),
the identity of the film artist spills into the films just as character traits
transcend the cultural text. Already the very first shots of his first film,
Above the Law (1988), exhibit this entanglement of artist persona and
film character. Opening with childhood memories of protagonist Nico
Toscani, his voice-over tells the story of a teenage adolescent fascinated by
martial arts who eventually journeys to Japan to become a highly respected
aikido master. While the film score softly plays classical music to further
embellish this narrative of individual success, the cinematography shows
childhood pictures and newspaper clippings of Steven Seagal during his
time in Japan when the actor-to-be trained to become an aikido master. By
using the childhood photos of the artist Steven Seagal and his biographical
experiences to introduce its protagonist, Above the Law questions their
clear-cut distinction.11 As virtually all Seagal characters share these traits,
his films establish a pattern in which the biography of the actor is almost
synonymous with his roles and vice versa. Intimately involved in writing
and producing many of his films, Seagal can bring, as Vern summarizes, ‘a
certain personality, formula and set of motifs to pretty much every picture
he ever does’ (vi). Even when not immediately part of the creative process,
this Seagal formula functioned as an artistic and commercial strategy, as
the actor explains: ‘“I haven’t always been dealt scripts that were palatable
and movies that I thought were even makeable, and I think one of the
secrets of my success is that I changed them into something that was almost
watchable”’ (Vern vi, emphasis in original).
This interrelation of artist persona and film character is a common
phenomenon in the Hollywood film industry; producers, film-makers,
and actors have always employed biographical information to enlarge and
embroider a star persona in order to promote a film (cf. Harris 42–43).12
Most famously, Marilyn Monroe has (been) exploited (by) the assumed
similarities between her roles, her personal experiences, and her private
persona as her symbolic meanings ‘far outrun what actually happens in
her films’ (Dyer 3)—the star system as such ‘is based on the premise that a
star is accepted by the public in terms of a certain set of personality traits
which permeate all of his or her film roles’ (Harris 41). As a consequence,
Christine Gledhill encourages intertextual readings and interdisciplinary
analysis of stars and their roles as one coherent phenomenon (cf. xii).
Instead of an individual film, then, star studies define the actor or per-
former as the principal analytical category and encourage to explore the
entire body of his or her work—which includes a broad variety of material
beyond the cinematic text. This concentration on individual artists, the
concentration on the entire work of a performer, and the notion of a coherent
personal vision resemble the analytical approach of auteur theory. Since
the celebrity status of film auteurs also helps ‘produce and promote texts
that invariably exceed the movie itself, both before and after its release’
(Corrigan 101), star studies and auteur theory allow us to understand the
Seagal phenomenon as part of mass culture (the star) and high art (the
auteur).
By the time of Seagal’s first blockbuster production Under Siege (1992), his
character Casey Ryback did not need an intimate introduction anymore as
audiences already knew in advance about the superior close-combat abili-
ties of Ryback/Seagal. Neither an average street cop nor a lowly cook, Nico
Toscani and Casey Ryback—and Mason Storm and John Hatcher and Gino
Felino and Forest Taft—are all highly decorated elite experts in martial arts,
weaponry, and military tactics of some sort. These characters also share a
clandestine past as well-trained combat men who work some uneventful
job after their dishonorable discharge from the army—usually due to their
248 Die tmar Meinel
insubordination to a corrupt or immoral superior. And while no similar

military records of Seagal exist, his ambition to raise, in his words, ‘“political
conscientiousness”’ (Vern vi) echoes the motivation of his characters to act
by a general moral code and ‘do what’s right’ (On Deadly Ground)—even
if this includes the disobedience of the chain of command and leads to a
dishonorable discharge. These shared political ambitions are particularly
highlighted in films addressing ecological devastation. Condemning the
commercial exploitation of nature, Forest Taft, Jack Taggart, or Dr. Wesley
McClaren express an ‘“environmental conscientiousness”’ (Vern vi) in On
Deadly Ground (1994), Fire Down Below (1997), or The Patriot (1998) that is
also dear to Seagal.
In addition to the martial arts expertise, a potpourri of imagined Asian
cultures, political and environmental concerns, and an affinity for Bud-
dhism, Seagal characters also often possess talents the actor indulges in.
As a musician, guitar player, and lead of his blues band Thunderbox, Steven
Seagal is not only credited with composing and co-composing soundtracks;
in Fire Down Below (1997), protagonist Jack Taggart also picks up a guitar.
Finally, the reality TV show Steven Seagal: Lawman (2009-2010) further
blurs easy distinctions between artist persona and film character. The
show follows police reserve deputy ‘Steven Seagal’ of Jefferson Parish,
Louisiana—something the artist Steven Seagal has been supposedly doing
for the past twenty years. Although the reality TV format asserts to portray
‘Steven Seagal […] as a real-life cop in Louisiana’ and maintains to be ‘No Act’
(as the tagline for Lawman asserts), the scripted, filmed, and edited nature
of the reality TV format undermines any claim to authenticity. Throughout
the show, people on the streets also recognize protagonist ‘Steven Seagal’ as
a film star rather than as an officer of the law. Being asked for autographs,
people assure Deputy Sheriff ‘Seagal’ that he could beat Jean-Claude van
Damme but would lose to Chuck Norris in a fight, or apologetically state
that ‘“this is my first time going to jail, Mr. Stallone”’ (Vern 382). Steven
Seagal: Lawman further underscores the performativity of identity, since
the artist Steven Seagal stars as Reserve Deputy Sheriff ‘Steven Seagal’, a
‘martial artist, movie star, blues musician, herbalist, acupuncturist, dog
owner, philanthropist and swordsman turned Deputy Sheriff’ (Vern 371)
who became a film star by playing police officers with martial art skills,
Buddhist beliefs, blues music affinities, and philanthropic world views.
Because the show eventually reveals the clandestine past of star-auteur
Steven Seagal working for a law enforcement agency, Lawman further
authenticates his film characters and fictionalizes his biography.13
Although this interplay of public persona and film role(s) is a common

phenomenon for Hollywood’s star system, in contrast to his action film
colleagues Stallone, Schwarzenegger, or van Damme, Seagal never ventured
beyond the action film genre to shoot romances, comedies, or science fic-
tion—no out-of-character performance challenged the linkage between art-
ist persona and film figure. While in the work of Stallone, Schwarzenegger
or van Damme biographical information also spills into their films, starring
as a police officer of the twenty-second century, as a cyborg sent from the
future to wipe out humanity, or as a video-game character distinguished
these performers from their roles.14 Not surprisingly, the very first works in
Seagal’s career already announce the amalgamation of artist persona and
character when film posters and video covers declare that ‘Steven Seagal
is Hard to Kill’ (Hard To Kill), ‘Steven Seagal is Marked for Death’ (Marked
for Death), and ‘Steven Seagal is Out for Justice’ (Out for Justice).
In spite of this continuous play of references, Steven Seagal does not
merely exhibit (or appropriate) postmodern authorial strategies, since
the performer also consistently articulates political or ethical positions.
Indeed, his work can be considered what Ramon Saldivar has labeled ‘post-
postmodern’, since the Seagal oeuvre attempts to give ‘a sincere explanation
for murder, cruelty, and evil, without resorting to postmodern irony or
metafictional play’ (‘Imagining Cultures’ 12). Condemning corporate power,
denouncing the primacy of profit, decrying a propagandistic media culture,
demanding increased environmental fines, and advocating people’s rights,15
the earnest, sincere, and passionate ending of an otherwise ludicrous and
over the top action film such as On Deadly Ground (1994) fashions ‘links
between the fantasy of the imaginary and the real of history’ (Saldivar,
‘Imagining Cultures’ 13, emphasis in original). These intersections of
postmodern play and ‘political and environmental conscientiousness’ is a
defining quality of Seagal’s work and the post-postmodern.
Unpopular Popularity
The different quantitative (known vs unknown) and qualitative (inferior

mass culture vs high art) frames of reading Seagal provide a preliminary
summary of what may constitute the un/popular. First, I deemed Seagal
highly popular during the first decade of his career as his films succeeded
at the box office; and although his big-budget productions mostly failed, the
willingness of the studios to spend large budgets on a Seagal film further
signals his initial popularity. Additionally, I appropriated auteur theory,
250 Die tmar Meinel
explored the conjunction of artist persona and film character, and hinted
at the post-postmodern qualities of the Seagal oeuvre to explore its links
to different high art discourses. Since Seagal’s commercially successful
films exemplify these practices and strategies, the early phase of his career
combines the quantitative feature of the popular and the qualitative ele-
ments of high art.
Second, after his commercial peak in the mid-1990s, Seagal descended
into the realm of direct-to-video productions and, thus, became quantita-
tively unpopular. The B movie obscurity of his productions, however, does
not conceal their postmodern and post-postmodern quality as numerous
aesthetic features of his early work define Seagal’s later releases—particu-
larly his career as a musician and his TV show further encourage to situate
the complete ‘Steven Seagal archive’ within high art authorial strategies. The
direct-to-video films additionally exhibit a cinematic quality fundamentally
different from the commercially popular Seagal films. Due to the poor
acting, the cheap mise-en-scene, the incoherent fight choreographies, and
the chaotic editing, the former often mirror the discontinuous filming
pioneered by Jean-Luc Godard, while the inconsistencies in the plot further
deconstruct the immersion aimed for by Hollywood cinema. In this sense,
Seagal’s direct-to-video releases (and maybe B movies in general) share
numerous cinematic elements with the French New Wave, whose directors
utilized these strategies to challenge the established codes and boundaries
of Hollywood cinema. As an artist engaged with questions of authorship,
the direct-to-video-Seagal continues to epitomize contemporary high art
practices, but the marginal audience interest in his DVD premiere releases
speaks to his increasing quantitative unpopularity.
Third, despite the numerous high art practices in his oeuvre, Seagal
achieved his commercial success in a highly conventional genre by starring
in predominantly generic productions. Although I have not analyzed their
politics of representation, films such as Marked for Death (1990) or Under
Siege (1992) exhibit highly normative narratives and imagery in the decidedly
Hollywood fashion of mainstream film. As his highest grossing film Under
Siege (1992) also apes the prominent Die Hard (1988) formula, critics deemed
the film an inferior copy of the Bruce Willis vehicle upon release. Due to
this absence of narrative originality, cinematic innovation, or ideological
transgression, Seagal’s commercially successful theatrical releases represent
the popular in its derogatory sense of inferior ‘mass’ culture.
Finally, thanks to the dearth of any artistic, aesthetic, or narrative sophis-
tication viewers often resent the action film genre in general and the Seagal
films in particular as low forms of art or entertainment. Actually, this is not
an inaccurate assessment with regard to direct-to-video productions and

Seagal. Neither watched by a noteworthy audience, nor attributable with
considerable cultural relevance, The Foreigner (2003), Submerged (2005),
Today You Die (2005), or Pistol Whipped (2008) could very well be considered
completely unpopular. Since these video releases do not appear to follow
any artistic aspirations but merely the necessities of low budget productions,
one may find my assertion of auteur theory, postmodern performativity,
and the post-postmodern stretching the boundaries of these concepts.
As Seagal never indicated any kind of ambition or desire to utilize these
theories in his films, a fourth conclusion may simply deem his later work
(quantitative) unpopular and (qualitative) irrelevant.
These different readings of Steven Seagal, as I have suggested in the
beginning, should function to expose the interdependence of the popular,
high art, and the unpopular—and complicate a coherent definition of the
un/popular. These categories, characterized whichever way, cannot be
thought separately. And while the career of Steven Seagal has enabled me
to explore the intricate conjunctions of the quantitative and qualitative
features of the un/popular, the commercial insignif icance (unpopular
culture) and cultural irrelevance (popular culture) of his direct-to-video
releases—his unpopular popularity—fosters questions about the necessity
to study this and similar phenomena. What are, in other words, worthwhile
avenues of thought opened up by the un/popular?
One inquiry could, for example, explore the normative and subversive
functions of the direct-to-video sphere. In analogy to the early star system,
which emphasized the morality of its protagonists to portray the cinema as
‘a healthy phenomenon’ (De Cordova 29), questions about the (re)production
of social norms through the un/popular become prominent. Richard de
Cordova, for example, situates the attempts of the film industry to convey
a proper, wholesome image of its protagonists within cinema’s (com-
mercial) competition with a theater scene that the public often perceived
as scandalous and frivolous in the 1910s. Following highly aesthetic and
narrative conventions, the Seagal films exemplify a set of social norms
and can similarly help to analyze hegemonic ideological formations in the
present. Due to its commercial irrelevance, however, the un/popular can
also function as a marginal space where subversive, aesthetically daring,
and unruly practices find a realm for expression and open up novel perspec-
tives about the direct-to-video market, its stars, and their roles within the
broader cultural industry.
Yet, in assessing the subversive and normative potentials of the un/
popular, the f inancial limitations of these projects particularly (and
252 Die tmar Meinel
involuntarily) impact the ‘healthiness’ or unruliness of un/popular texts: as

the poor cinematic quality of B movies often challenges or undermines the
seamless immersion pursued by Hollywood films, novel conceptualizations
of the film apparatus and its interpellatory possibilities become necessary.
This (unwilling) instability of the un/popular may thus help to expand our
understanding of the subversive and normative features of cultural texts
in general.
A different approach to the un/popular could investigate the limitations
posed by the star persona. By developing a household name or brand iden-
tity, stars and auteurs successfully compete in a highly volatile commercial
market, but they are simultaneously tied to their public persona and,
consequentially, to audience expectations. These may become inhibiting
when stars aim to (or have to) alter their persona, yet hope to maintain
their popularity (cf. Harris 45). While successful child actors encounter this
challenge most prominently, the un/popularity of Steven Seagal encourages
us to explore whether his public persona and his roles are particularly suited
for a B movie career. In what ways, for example, is the Seagal formula bound
to fail in large box office productions but especially prone to success in
the direct-to-video context? In this sense, un/popularity offers a frame of
analysis for different authorial strategies.
Finally, in his seminal Heavenly Bodies (1987), Richard Dyer describes
stars as texts through which contemporary society negotiates ‘what it is to
be a human being […] [or] the particular notion we hold of the person, of
the “individual”’ (8). Seen from this perspective, the un/popularity of Seagal
may offer insights, for example, into popular forms of male individuality in
the early 1990s (cf. Malin 31-37) and its altered notions in the present. The
revived popularity of aging action stars such as Stallone, Schwarzenegger,
Willis, van Damme, and Norris16 as well as the continued unpopularity of
Seagal could help to chart contemporary conceptions of male individuality
through the un/popularity of particular star personalities.
These eclectic suggestions indicate the possibilities of the un/popular
within studies of culture. To explore the normative and subversive potential
the un/popular holds, to investigate the limitations of an un/popular star
persona, or to read the un/popular within the context of individuality, how-
ever, confines the un/popular and the unpopular to the representational
paradigm of cultural studies. Quantitatively negligible and artistically
irrelevant, however, the unpopular challenges our conceptualizations of
culture as these texts seemingly fail to offer any insight into a broader
understanding of the world.
Wrist-Breaking Hegelian Paradigms of Culture
In analyzing the transnational dimensions of American exceptionalism,

Winfried Fluck identifies a shared premise in national as well as trans-
national approaches to American studies. The def ining hypothesis in
the study of culture, he asserts in his essay ‘Men In Boats and Flaming
Skies’, is the assumption that ‘art can reveal deeper truths about an age
or a society, because it is the result of a drive towards self-consciousness
of the universal spirit’ (142). Although the Hegelian presupposition of a
universal or ‘metaphysical’ spirit, as Fluck is quick to add, does not represent
the principles of cultural studies today, ‘the assumption that the study
of art is important because it provides something like a privileged form
of self-recognition of a culture, nation, or group is alive and well, even in
such seemingly far removed approaches like race and gender studies or
postcolonial studies’ (142). Whether referring to its cultural significance
or its wide distribution, scholars often invoke one of the two to justify the
analysis of a particular archive (cf. Fluck 143)—actually, literary studies
and cultural studies would not be imaginable without this presupposition.
Seen from this perspective, the un/popular sustains this concept of
culture. By exploring unpopularity in the context of the popular, the ap-
proach maintains the primacy of the latter and the supposition about art
and culture as privileged sites of knowledge. Instead of using the unpopular
merely as another puzzle piece within our established frame of culture,
however, to position the unpopular at the heart of our conceptualization
of culture would shared fundamentally transform our understanding of
culture. In exposing the shared Hegelian premises of national and transna-
tional approaches to American studies, Fluck asks whether we can imagine
any alternatives to our established approaches to culture. After all, in order
to question nationalist assumptions about culture, transnationalism can-
not merely be satisfied with envisioning borderlands and contact zone
or exposing intricate Atlantic and Pacific networks while continuing to
employ a Hegelian understanding of culture. If we do not conceptualize
cultural texts as representing nations, societies, or groups, however, the
question arises ‘on what grounds cultural and aesthetic objects can still
carry cultural and political meanings’ (Fluck 158).
Although I have highlighted the intersections of the unpopular, the
popular, and high art throughout my essay, the particular features of un-
popular culture—the absence of any artistic quality and the highly limited
distribution of the text—offer yet untraversed paths in developing a novel
paradigm of cultural studies. After all, the increasing democratization
254 Die tmar Meinel
of the technological means to produce cultural texts (literature, music,

film) and publish them on the internet demands to engage with questions
concerning the quantity, the politics, and the aesthetics of unpopular mate-
rial. Beneath these novel archives of unpopular texts lurk deeper issues
about the legitimation of cultural studies. So far, any study of culture has
rationalized and validated its significance by asserting to offer ‘a privileged
form of self-recognition’ (Fluck 142) not available to the natural sciences—
particularly in, although not limited to, the continuous competition for
financial funding and social legitimation. While the engagement with
unpopular culture may further foster stereotypes about the arbitrariness
and irrelevance of the humanities, thinking about these texts may also
expand the democratizing potential the study of culture possesses. Neither
of particular artistic value nor widely distributed, the utterly insignificant
films, music, and performances of Steven Seagal in the past fifteen years
eventually present us with an opportunity to question the Hegelian premise
of literary and cultural studies.
Notes
1. Above the Law (1988) cost 7.5 million dollars in production and grossed 19
million dollars at U.S. box offices, Hard to Kill (1990) 10 million and 47 mil-
lion, Marked for Death (1990) 12 million and 46 million, and Out for Justice
(1991) 14 million and 40 million dollars respectively (cf. boxofficemojo.com).
2. It is worth mentioning that Steven Seagal began his career by starring in his
first film (with Sharon Stone and Pam Grier in supporting roles).
3. Top Gun (1986) cost 15 million dollars in production and made some 180
million dollars at U.S. box offices; Die Hard (1988) made some 83 million
dollars at the national box office while costing some 28 million dollars (cf.
boxofficemojo.com).
4. Sylvester Stallone’s cult film Cobra (1986) made some 49 million dollars at
U.S. box offices (production budget not available) and his Tango & Cash
(1989) co-starring Kurt Russell some 64 million dollars (with a budget of
55 million dollars). Arnold Schwarzenegger was able to bring in some 60
million dollars (at a budget of 15 million dollars) with his Predator (1987), 38
million dollars on a 27 million dollar budget with Running Man (1987), and
35 million dollars (production budget not available) with Red Heat (1988)
(cf. www.boxofficemojo.com).
5. At U.S. box offices Under Siege (1992) earned 83 million dollars (production
budget: 35 millions), On Deadly Ground (1994) 39 million dollars (produc-
tion budget: 50 millions), Under Siege 2 (1995) 50 million dollars (production
budget: 60 millions), Executive Decision (1996) 56 million dollars (produc-
tion budget: 55 millions). Although all these films roughly earned the same
amount of money at international box offices (not to mention the rental
and video market), these films were considered flops by the studios.
6. At U.S. box offices Glimmer Man (1996) earned 20 million dollars (produc-
tion budget. 45 millions) and Fire Down Below (1997) 16 million dollars
(production budget: 60 millions).
7. At U.S. box offices Exit Wounds (2001) earned 80 million dollars (produc-
tion budget: 33 millions) and Half Past Dead (2002) 19 million dollars (13
millions).
8. Since information about direct-to-video releases (or rental revenues) for
individual films is hard to acquire or often not available, a direct compari-
son between the DVD premiere movies and theatrical releases remains
challenging. In general, home entertainment revenues of all VHS, DVDs,
Blue-Rays, and online distributions (sales and rentals) reached some 18 bil-
lion dollars in 2013 (cf. Fritz http://www.wsj.com), while studio investments
in direct-to-video productions reached some three billion dollars in 2005
(cf. Hettrick and Lerman). These numbers indicate the value of the video
entertainment market in general and the value of DVD premiere movies
in particular. Yet, blockbuster Hollywood production, successful box office
releases, and popular TV shows dominate the home entertainment market
nonetheless—the annual list of the 100 top selling DVDs in the United
States (since 2006), for example, contains no single Seagal film (cf. www.
the-numbers.com). As direct-to-video productions do not necessarily aim
for a wider audience and often struggle to compete with the high-value the-
atrical releases repackaged for home entertainment, this absence of Seagal
films does not come as a surprise.
At the same time, the home entertainment and the direct-to-video mar-
ket present the entrepreneur Seagal with profitable business opportunities.
The martial arts performer earns up to four million dollars ‘for his work in a
DVD premiere movie’ (Hettrick and Lerman). Indeed, many of his produc-
tions are shot on a ten-million-dollar budget and ‘[t]he top titles in the DVD
premiere movie segment, including Seagal’s Belly of the Beast released last
year [2004] and The Foreigner in 2003, each covered their budgets with the
$14.3 million and $16.7 million generated from home video in the U.S. alone’
(Hettrick and Lerman). While these direct-to-video budgets correspond to
the production costs of the early Seagal films in the 1980s (without factoring
in inflation and changed production costs), the present-day direct-to-video
releases compete in a highly enlarged and diversified market and profit from
a dedicated base of supporters as ‘Seagal’s audience […] remains the same
whether it is a movie in theaters or a DVD premiere’ (Hettrick and Lerman).
For Steven Seagal, then, his films continue to provide a source of income
and considerable wealth, but since the home entertainment and the direct-
to-video market profoundly expanded and diversified in the last thirty years,
his profits are not necessarily a sign of wide-spread popularity. In addition,
256 Die tmar Meinel
when ‘live-action DVD premiere actors, particularly in the action genre,

still suffer professional snubs for being a “direct-to-video star”’ (Lerman and
Hettrick) in 2005 and when ‘[t]he biggest taboo in American cinema may
be the direct-to-video (DTV) market’ (Erickson) even in 2013, these attitudes
capture the unpopularity of this segment of the film industry.
9. Seagal maintained a degree of renown and visibility not just through his
direct-to-video releases. Rather, his extra-diegetic endeavors allowed the
martial arts experts to continue his career as a celebrity. Beyond his films,
TV shows and music Seagal also remained visible through tabloids and yel-
low press stories (particularly surrounding his divorce). With time, his early
films earned Seagal a cult following making the martial arts expert known
to people who may have never seen his films. In this paper, however, I will
not focus on these and similar strategies of forming a public (or celebrity)
persona.
10. Norris and van Damme had their breakthrough as leading stars at U.S. box
offices with Missing In Action (1984) which earned 23 million dollars (pro-
duction budget: 2,5 millions) and Bloodsport (1988) which 12 million dollars
(production budget: 1.1 million) respectively. Until their appearance in The
Expendables II (2012) both did not appear in any high value production, and
in the 2012 film both play supporting roles with Stallone, Schwarzenegger,
Willis, and (Jason) Statham playing key characters in the film.
11. In his Seagalogy, Vern writes that Seagal ‘really did go to Japan as a young
man, he may have really hung around in the general vicinity of the founder
of aikido, and later he definitely did run an aikido school, unheard of for
a white man in Japan […] However, Seagal’s claims and innuendo about
working for the CIA are at best unverifiable’ (5).
12. Hollywood developed, systemized, and subsequently exploited this star
phenomenon from its inception in the 1910s. Whether during the tightly
managed studio system period until the 1950s or in the less regulated Hol-
lywood era afterwards, stars were often considered to transcend their films
and, thus, manufactured a coherence among a set of otherwise diverse films
(cf. Barker 1–22).
13. At Seagal concerts, audiences similarly conflate the different personas when
people chant ‘Ryback, Ryback’ (cf. Vern 482).
14. Stallone in Demolition Man (1993), Schwarzenegger in The Terminator
(1984), and van Damme in Street Fighter (1994).
15. The following quote is an excerpt (!) from a longer speech Forrest Taft, the
protagonist of On Deadly Ground (1994), gives at the very end of the film:
‘The concept of the internal combustion engine has been obsolete for over
fifty years. But because of the Oil Cartels and corrupt government regula-
tion, we and the rest of the world have been forced to use gasoline for over
a hundred years. Big Business is primarily responsible for destroying the
water we drink, the air we breathe and the food we eat. They have no care
for the world they destroy, only for the money they make in the process […]
these people broker toxic waste all over the world. They basically control
the legislation, and, in fact, they control the Law. The Law says, ‘no com-
pany can be fined over $25,000 a day’. For companies making $10,000,000
dollars a day by dumping lethal toxic wastes into the ocean, it’s only good
business to continue doing this. They influence the media so that they can
control our minds. They have made it a crime to speak out for ourselves,
and if we do so we’re called ‘conspiracy nuts’ and we’re laughed at. We’re
angry because we’re all being chemically and genetically damaged, and
we don’t even realize it […] Our most common and God-given rights have
been taken away from us. Unfortunately, the reality of our lives is so grim
that nobody wants to hear it. Now, I’ve been asked what we can do? I think
we need a responsible body of people that can actually represent us rather
than Big Business. This body of people must not allow the introduction of
anything into our environment that is not absolutely biodegradable or able
to be chemically neutralized upon production. And finally, as long as there
is profit to be made from polluting the Earth, companies and individuals
will continue to do what they want. We have to force these companies to
operate safely and responsibly, and with all our best interests in mind. So
that when they don’t, we can take back our resources and our hearts and
our minds and do what’s right’ (On Deadly Ground).
16. The Expendables (2010), RED (2010), The Expendables 2 (2012), Looper (2012),
RED 2 (2012), Escape Plan (2013), and A Good Day to Die Hard (2013) are
some of their most prominent recent releases.
Works Cited
Barker, Chris. Cultural Studies: Theory and Practice. 2000. 3rd ed. Los Angeles: Sage, 2008. Print.
Barker, Martin. ‘Introduction.’ Contemporary Hollywood Stardom. Ed. Thomas Austin and Martin
Barker. New York: Oxford UP, 2003. 1–22. Print.
boxofficemojo.com. Web. 7 Apr. 2016.
Corrigan, Thomas. ‘The Commerce of Auteurism.’ Film and Authorship. Ed. Virginia Wright
Wexman. New Brunswick: Rutgers UP, 2003. 96–111. Print.
De Cordova, Richard. ‘The Emergence of the Star System in America.’ Gledhill, Stardom 17–29.
Print.
Dyer, Richard. Heavenly Bodies: Film Stars and Society. London: MacMillan Education Ltd.,
1987. Print.
Erickson, Steve. ‘Fresh Blood: Three Great Directors of Direct-to-Video Action.’ Roger Ebert.com.
Ebert Digital LLC, 6 Aug. 2013. Web. 7 Apr. 2016.
Fluck, Winfried. ‘Men in Boats and Flaming Skies: American Painting and National Self-
Recognition.’ Re-Framing the Transnational Turn in American Studies. Ed. Winfried Fluck,
Donald E. Pease, and John Carlos Rowe. Hanover: Dartmouth College Press, 2011. 141–64.
Print.
Fritz, Ben. ‘Sales of Digital Movies Surge Delaying Availability of DVDs, Rentals Nudged Consum-
ers.’ The Wall Street Journal, 7 Jan. 2014. Web 7 Apr. 2016.
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Gledhill, Christine. ‘Introduction.’ Gledhill, Stardom xi–xix. Print.

—. Stardom: Industry of Desire. New York: Routledge, 1991. Print.
Harris, Thomas. ‘The Building of Popular Images: Grace Kelly and Marilyn Monroe.’ Gledhill,
Stardom 41–45. Print.
Hatt, Michael, and Charlotte Klonk. Art History: A Critical Introduction to Its Methods. Manches-
ter: Manchester UP, 2006. Print.
Hettrick, Scott, and Laurence Lerman. ‘Stars, Money Migrate to DVDP.’ DVD Exclusive.com. A
Variety Group Publication, 7 Nov. 2005. Web. 7 Apr. 2016.
Culture. Ed. Martin Lüthe and Sascha Pöhlmann. Amsterdam: Amsterdam U P, 2016. 7–29.
Print.
Malin, Brenton J. American Masculinity Under Clinton: Popular Media and the Nineties’ ‘Crisis
of Masculinity.’ New York: Peter Lang, 2005. Print.
On Deadly Ground. Dir. Steven Seagal. Perf. Steven Seagal, Michael Caine, and Billy Bob Thornton.
Warner Bros., 1994. Film.
Saldivar, Ramón. ‘Historical Fantasy, Speculative Realism, and Postrace Aesthetics in Contem-
porary American Fiction.’ American Literary History 23.3 (2011): 574–99. Print.
—. ‘Imagining Cultures: The Transnational Imaginary in Postrace America.’ Journal of Trans-
national American Studies 4.2 (2012): 1–17. Print.
Sarris, Andrew. ‘Notes on the Auteur Theory in 1962.’ Film Culture Reader. Ed. P. Adams Sitney.
New York: Praeger Publishers, 1970. 121–35. Print.
Storey, James. Cultural Theory and Popular Culture: An Introduction. 5th ed. Harlow, England:
Pearson Longman, 2010. Print.
the-numbers.com. Nash Information Services. Web. 7 Apr. 2016.
Truffaut, Francois. ‘A Certain Tendency in the French Cinema.’ The Film Studies Reader. Ed.
Joanna Hollins, Peter Hutchings, and Mark Jancovich. London: Arnold, 2000. 58–63. Print.
Vern. Seagology: A Study of the Ass-Kicking Films of Steven Seagal. Updated and Expanded Edition.
London, Titan Books, 2012. Print.
Wexman, Virginia Wright. ‘Introduction.’ Film and Authorship. New Brunswick: Rutgers UP,
2003. 1–20. Print.
Williams, Raymond. Keywords: A Vocabulary of Culture and Society. New York: Oxford UP,
1983. Print.
Unpopular Sport Teams and the Social
Psychology of ‘Anti-Fans’
Karsten Senkbeil
It is one of the most peculiar phenomena in sports cultures worldwide that

the most successful team with the most fans in any given country or city
is often at the same time the most unpopular among everybody else in the
country, city, or league. The New York Yankees, for example, continue to
maintain a love-hate relationship with baseball fans across the USA and
even with fans in their hometown New York City, where in the past the
Brooklyn Dodgers and New York Mets used to fascinate urbanites with
their image of the likable though unsuccessful underdog. The top European
soccer teams with a comparable magnitude in their respective leagues,
such as Juventus F.C. in Italy or Bayern Munich in Germany, experience
the same. Fans who usually find it hard to agree on anything (be it referee
decisions, the likability, or the talent of certain players) because they are
emotionally attached to different teams come together in the same blog
or Facebook group to agree on one thing: that Juventus, the Bayern, or the
Yankees are simply despicable. Sport teams thus represent a simple, yet
most fitting example of Lüthe’s and Pöhlmann’s assessment that today,
cultural products are often popular and unpopular at the same time (cf. 21).
Why, then, do fans from across the country unite1 in their overt contempt
for a specific team? What is the psychological setup and the sociocultural
rationale of the ‘hater fan’?2 Why do people fervently and outspokenly assign
to themselves the role of a non-member of a certain fan group, instead of
simply ignoring that which they do not care for?
The Sociology of Sport Fandom
Sports fandom and the social psychology of people who are interested
in sports, who cheer and care for the team of their hometown or alma
mater, and who choose to come together in small self-selected collectives
to amplify their emotional attachment to that sport and team, are fairly
well-understood cultural phenomena. Sociologists and anthropologists
in the late twentieth century have identif ied the most signif icant so-
ciocultural reasons, motivations, and mechanisms behind fan cultures
260 K arsten Senkbeil
in sports. Landmark studies that defined the theoretical framework in

which sociologists understand sports fandom include Bourdieu’s essay ‘How
can one be a sports fan?’ (1978), in which he both asked and answered the
question in its title by applying one of his core concepts, the ‘habitus’, to
different types of sports. Bourdieu concluded that different social strata
are fascinated by different types of sports, which mirror and reinforce
social cleavages by being relatively exclusive for members of different social
classes. Fiske’s influential work on ‘The Cultural Economy of Fandom’ (1992)
adopted Bourdieu’s fundamental idea of sports participation and fandom as
a production and accumulation of non-monetary ‘capital’ (cultural, social,
or ideological), while overcoming some of the oversimplifying dichotomies
that divided sports into either working-class or bourgeois pastimes without
any leeway for ambiguity. Still, for Fiske fandom continued to be ‘associated
with cultural tastes of subordinated formations of the people […] particu-
larly with those disempowered by any combination of gender, age, class, and
race’ (30). Empirical studies in sociology, psychology, and communication
that prove Fiske’s point exist in abundance (e.g. Carrington, Miller, Kay, to
name only three representative examples). Yet today, 22 years after Fiske’s
insightful argument, it appears necessary to re-evaluate Bourdieu’s and
Fiske’s central idea that sports fan communities are always spawned by a
deficit in official forms of cultural capital of those involved. As I will show
later, it appears as if the identity construction as a sports aficionado and a
knowledgeable sports small-talker, even about sports that used to imply the
habitus of a lower class (such as soccer in Europe and American football in
the USA), has become a form of socially acceptable, even beneficial behavior
also for those who are flush in money and education, i.e. forms of official
cultural capital.
In a different branch of social theory, but with clear relevance to the
dynamics of sport fan groups, Maffesoli’s hypothesis about a new Time of
the Tribes (1996) in postmodern urban societies can be readily applied and
connected to the Bourdieuian approach. As I show elsewhere, several core
characteristics of sports teams (the relevance of ritualized chanting and
singing, sport’s ability to produce heroes and induce nostalgia, their being
rather stably tied to their respective urban centers, thus spawning local
patriotism) in fact render them potent foci of crystallization for post-modern
‘pseudo-tribes’ (Maffesoli x; cf. also Senkbeil, Ideology).
Numerous empirical studies affirm some of the core arguments of said
scholars, while at the same time differentiating and nuancing the complexi-
ties of sports fandom, and sometimes cultural differences in different parts
of the Western world (cf. for example Sugden and Tomlinson or Whannel).
Unpopul ar Sport Teams and the Social Psychology of ‘Anti-Fans’ 261
The established lines of argument of Bourdieu, Fiske, and Maffesoli there-

fore form the foundation for the argument outlined in this paper. Yet, it
appears as if the phenomenon of a collective disdain or even ‘hatred’ towards
certain teams in modern team sports represents a distinctive subcultural
phenomenon, which the work of the scholars mentioned above fails to fully
account for. Fiske argues that being an active fan ‘is functional, it must be
for something’ (35, my emphasis), indicating that participation is mostly
purposeful on a social level; now it stands to argue whether one can be a fan
against something, and whether the social functions are still comparable
then. Sports sociology shows that ‘normal’ sports fans seek moments of joy
and strong emotional involvement as central motivations for their participa-
tion in the stadium, particularly as modern life has increasingly become
emotionally stale (cf. Dunning and Elias 16). Furthermore, prestige within
one’s peer group belongs to the strong social functions of participatory
fandom. At first glance, being a fervent hater or anti-fan seems to make less
sense, as hatred, anger, and continued frustration (because the hated team
usually continues to dominate the league financially and athletically) seem
to be neither psychologically nor socially desirable effects.
Thus, departing from those landmark texts that have been introduced
here, I attempt to show how anti-fan-culture can be seen both as an exten-
sion of and in opposition to more ‘normal’ fan culture in today’s Western
societies. In a second step, a tentative qualitative study of the social semiot-
ics within said anti-fan groups online will sketch a typology of anti-fans, and
attempt to extract three central reasons for why people choose to acquire
and perform an anti-fan identity. Firstly, I argue that class dynamics in
developed capitalistic societies are central in pushing certain fan groups
to the margins, thus ‘producing’ hater fans while consumerism woos the
normal ones. Secondly, I intend to show how an almost ‘mock-bourgeois’
form of traditionalism informs much of the scorn and insult towards hated
teams. Finally, I will discuss how anti-fan performances serve social func-
tions whose motivations go beyond class but rather include power dynamics
on the axes age and gender.
Anti-Fans vs ‘Normal’ Sports Fans: A Comparison
First, it appears necessary to shortly recapitulate the reasons that the

Bourdieu-Fiskeian school of thought defines as decisive for ‘normal’ sports
fans’ performances and identity constructions. Then, based on qualitative
empirical research, it will be possible to test whether the same arguments
hold for hater fans and their loose collectives that can be found on Facebook
and other forums online. Why do ‘normal’ sports fans—those who cheer
fervently for their favorite team at every home and many away games—do
what they do?
Bourdieu’s theory of sports participation differentiates between cultural
tastes and competences common among the privileged members of a society
versus cultural tastes of those deprived from economic and official cultural
capital (cf. Bourdieu 352–53). As the lower classes lacked access to those
institutions that taught the competences and tastes for official3 cultural
forms (such as opera and the fine arts), they founded counter-cultural
forms of ‘non-official’ cultural and social capital among the peer group
of likeminded fans. This countercultural habitus included rougher, more
physical forms of behavior, which is why physically aggressive sports were
long considered typical working-class pastimes (such as for example boxing,
soccer, rugby, and, though to a lesser extent, American football), as opposed
to culturally more ‘refined’ but less physical sports (such as golf and tennis).
When spectatorship of popular (in the sense of ‘non-elite’) sports developed
into fan culture, the commitment to that particular form of habitus thus
always formed outside of official institutions and usually with an implicit
rebellion against established official culture.
The ‘shadow cultural economy’ (30) of fandom, as Fiske calls it, picking up
the Bourdieuian train of thought, usually expropriated certain mechanisms
and characteristics of that official culture to which it was (allegedly) op-
posed. To name just the strongest parallels: the gate-keeping and policing
of the borders between the community of fans for team A (versus those
of team B) continues to work remarkably similar to gatekeeping practices
and processes in ‘higher’ cultural forms. Also, the background knowledge
of historical events, personalities, and ritualized forms of behavior that
an ‘initiate’ or ‘newcomer’ needs to show before he or she can be accepted
among the ranks are as strongly marked as (maybe even more pronounced
than) those within the communities of official culture. Also, it needs hard
work and dedication to become a leading figure within a sports fan group,
just as it needs hard work and lots of practice to be accepted as a knowl-
edgeable arbiter of official culture. Moreover, ‘authenticity’ remains an
essential criterion in the accumulation of official cultural capital, as the
authentic sound of a particular orchestra, the authenticity of a painting,
and the competence to recognize and ultimately own said authenticity
remains at the core of official culture connoisseurship. This is reflected by
the authenticity of one’s emotional involvement as a sports team fan: among
‘ultra’ fans, it is met with the greatest amount of scorn when non-ultras (or
politicians, or the media, or advertisers) try to fake the emotional highs and
lows of the ‘true believer’ (cf. Langer 54–66).
Moreover, despite the fact that early sports fan cultures (in the twentieth
century) were considered grass-roots movements opposed to the upper
class, the social return of investment of sports fans strongly resembled the
usual forms of social capital. Being an accepted member of a fan collective
grants a young man the esteem of his peers, respect and social status within
the group, a feeling of solidarity among his ‘pseudo-tribe’ (Maffesoli x),
i.e. with people who are neither his family nor close friends, but rather a
‘self-selected fraction’ (Fiske 30) of the people, whose commonalities are
often restricted to comparably small details.
For Bourdieu and Fiske, the huge difference between official culture and
the shadow economy of fans’ cultural capital was that subcultural capital
within the sports fan peer group could not (or only with a lot of difficul-
ties) be translated into real economic capital. If anything, being a deeply
involved fan of a working-class sport more often than not encumbered
social upward mobility up until the late twentieth century. In opposition,
official cultural capital, and this included the cultural capital acquired
through membership in upper-class sports circles, usually produced social
privilege and distinction, enabled networking with likeminded members
of the upper class, and thus often represented an important step towards
more economic capital down the road.
Bourdieu strongly emphasized this class dimension, and in the last
decades both theoretical and empirical works have made the point that
this simple dichotomy of bourgeois vs working-class sports fandom must
be problematized and extended (cf. Sugden and Tomlinson, for example).
We know today that fandom in almost all popular cultural forms is just as
dynamic with regard to the axes of ethnicity, gender, and age. A look at the
demographics of sports fandom shows that age appears to be a particularly
significant variable for sports fandom. The most dedicated fan groups in
stadiums mostly consist of young men (and few young women) intent on
differentiating themselves from the official cultural norms of their parents
and teachers (cf. Langer 51). At the same time, age is the one dimension of
difference that inescapably changes over time for each and every one of us.
From that perspective, it comes as no surprise that the self-proclaimed coun-
terculture of sports fans emulates and reincorporates many characteristics
of official culture: in fact, the quasi-bourgeois mechanisms of inclusion
and exclusion mirrored in sports fan groups prepare their participants
for similar mechanisms in later life. Not coincidentally, a large fraction of
the most devoted, enthusiastic, noisiest sports fans are in fact students at
high school or university (aged 15–25)4 (cf. Schwier), i.e. young people who
are currently preparing themselves in official educational institutions to
later in their lives become parts of the official culture they (think they) are
symbolically opposing in their youth.
Testing the outlined arguments about ‘regular’ sports fans for a certain
team with regards to those who call themselves ‘haters’ of a certain team,
we find only little differences in the social-psychological rationale that
probably motivates that self-identification. The policing of borders and
mechanisms of exclusion may be less strict: becoming a member of, for
example, the Facebook group called ‘Because I’ll always hate F.C. Bayern’5—
which has more than 86,000 followers—is voluntary and unrestricted,6
but group founders and administrators keep an eye on which posts are
deemed appropriate. For example, hateful remarks about single players
of that despised team are acceptable, even celebrated, unless overt racism
plays into them: even hater fans have to obey some of Facebook’s norms
about political correctness. Those group members with the most cutting or
witty remarks acquire high amounts of ‘Likes’, today’s common currency
for desirable yet non-transferable subcultural social capital. Others put
in hard work and effort, photoshopping the colors or jerseys of the hated
teams into images of pigs (or other unfavorable animals), players’ heads onto
animal bodies or into photos with humiliating sexual contexts, to gather
‘Likes’ and praise for their ‘artwork’. Participants are most often young and
male, their sense of humor (often) decidedly adolescent and intentionally
‘tasteless’—a hint at the fact that hater fans position themselves as opposed
to the mainstream, though probably subconsciously (as opposed to punk
rock bands, for example, who intentionally make ‘bad taste’ a part of their
agenda). In that sense, the social psychology of the hater fan mirrors to a
large extent that of the normal fan—if maybe a bit more extreme in their
neglect of the standardized rules of politeness and political correctness. In
fact, it appears very likely that both groups significantly overlap.
Particularly when it comes to the ‘rowdiness’ and ‘bad taste’ of anti-fan
groups, it is most worthwhile to recapitulate Fiske’s statement from 1992,
in which he discussed the same kind of behavior among (normal) soccer
fans in Great Britain and concluded that those fans,
many of whom are socially and economically disempowered males, can,

when wearing their colors and when in their own community of fans,
exhibit empowered behavior that only rarely really becomes violent and
dangerous, but which more typically confines itself to assertiveness. (38)
Today, the internet seems to be a prime medium to enable said symbolic

assertiveness and rudeness, which never becomes really dangerous for
anyone because of the spatial distance between the aggressor and potential
retaliators who might feel insulted. This symbolic act of aggression, Fiske
continues, is willfully ‘socially offensive, and deliberately challenges more
normal social values and the discipline they exert’ (38). This behavior
is, in fact, intended to ‘call forth considerable adult disapproval’ (Fiske
38). On the one hand, this idea echoes Lüthe’s and Pöhlmann’s remarks
about intentional unpopularity as a means to define an ‘underground’
aesthetic (cf. 8). In that respect, deliberately tasteless noisecore bands and
rowdy soccer fans share some characteristics. On the other hand, the term
‘adult disapproval’ in the quote above draws our attention back to age as a
significant dimension of difference. ‘Adult’ probably need not necessarily
be taken literally; we should consider it a metaphor for ‘the powers that
be’ in society. Most rowdy soccer fans are young, but in fact of age; many of
them are well-off, young, middle-class men at university (cf. Schwier) who
behave like responsible adults in their day-to-day lives. Thus, differentiation
along the axis of age—the (real or metaphoric) conflict between teenagers
and adults—may be one key to understand anti-fans. I will return to this
idea later.
So, even though the Fiskean-Bourdieuian argument holds not only for
‘normal’ soccer fans but also for hater fans, it appears necessary to expand
on one dimension in which the justifications and reasoning in these groups
are not congruent: their entanglement with consumerism. As mentioned
earlier, Fiske and most other Cultural Studies scholars today agree that a
clear distinction between the so-called popular as clearly distinguishable
from and opposed to official or high culture is an oversimplification. Also,
the definition of ‘subculture’ has become increasingly difficult, since in
virtually all fields of popular culture we can observe mainstream culture’s
power to absorb any new subcultural forms after a while, incorporating
them into the hegemonic system, adapting them to mainstream aesthetics
and values, even ‘inventing’ or creating high-cultural validity to draw the
socially and economically privileged towards the trend. There exist vari-
ous theoretical superstructures with which to explain this; one of them,
the hegemony-theoretical approach based on the neo-Gramscian school
of thought would argue that cultural hegemony (of modern mainstream
consumer capitalism) is a form of dominance that is founded on the consent
of its subjects to prevent their opposition. The smartest form to ensure the
consent of the young and potentially rebellious (here: sports fans) may be
to include their subcultural forms and practices (here: highly emotionalized
participation in the stadium) into the midst of mainstream consumer

culture.
A look at media communication in sports (cf. for example Senkbeil,
Ideology; Sage) shows how for a few decades, sports fans, particularly the
most passionate ones, have become the target of consumer culture: they are
wooed and flattered by advertising, welcomed by TV producers as ‘intense
background noise’ to their sports broadcasts, applauded by cultural critics
for their ‘authenticity’ and ‘loyalty’, and increasingly accepted and pursued
as customers by big business.
A case in point is the emergence of the so-called Fanmeilen in German
city centers during every big international soccer event following the FIFA
world cup in 2006. There, the possibility to communally watch the games on
a huge screen with thousands of others is cleverly surrounded by venues sell-
ing official merchandise and FIFA-licensed food and drink. An American
example is the trend towards centrally organized and brand-sponsored
‘tailgating parties’ around American stadiums. Tailgating, after all, was
‘invented’ as a reaction to the lack of reasonable public transportation to
many American stadiums (which is why American fans go to the stadium
by car) and, particularly, as a reaction to the outlandish prices for food and
alcoholic beverages within stadiums. Thus, American fans used to barbecue
and party out of the trunks of their cars before games to specifically avoid
the excessive consumerism in stadiums. Today, brands (barbecue grill
producers, beer brands, etc.) sponsor ‘official’ tailgating parties, a perfect ex-
ample of the assimilation of a countercultural form into consumer culture.
This process is observable in the sports cultures of all wealthy (post-)
industrial countries today, and it usually goes hand in hand with higher
ticket prices, more VIP boxes, a growing amount of ‘pay-per-view’ TV broad-
casts, and other developments subsumed under the term ‘gentrification’.
England serves as a prime example: the ticket prices for the stadiums (or
arenas) of the top soccer teams in London or Manchester (Arsenal, Chelsea,
Manchester United, Manchester City) often start in the three-digit numbers
(of pounds), available only to those with plenty of actual monetary capital.
Subcultural capital among the fan community alone will not suffice to
participate actively in fan culture in England.
If we connect these developments with the Fiskean theory, it appears
as if what Fiske called the ‘shadow cultural economy’ (30) of sports fans
has thus lost its ‘shadow’ aspect. Sports fan culture today is part of official
culture, a regular and acceptable part of an upper-middle-class citizen’s
life, both in the USA and Europe. Still, while the status and prestige of
being a sports fan has drastically changed, large parts of young, poor or
otherwise disenfranchised social strata certainly retain the inherent wish

to differentiate themselves from official culture and the powers that be.
Consumerism’s grasp of sports fan culture cannot extinguish the fact that
people with little or no access to official cultural capital still exist, and that
they are still interested and emotionally invested in sports. The growth of
hater groups or anti-fan communities may be connected with the need of a
new, symbolically rebellious cultural form for these groups. In a way, I argue,
the disenfranchised have migrated to a ‘sub-subcultural’ form—hating a
certain team—because ‘only’ loving a team has become too mainstream,
too middle-class, too ‘official’ in Bourdieu’s terms, and too much part of the
hegemonic system that some experience as unjust and exclusive.
As the mainstream certainly considers hatred a most irrational, intrinsi-
cally negative, and thus the most unpopular of emotions, it appears to
be particularly ‘unsexy’ for, maybe even inherently opposed to, market
capitalism. This renders hate the ‘weapon of choice’ for young, mostly male
individuals who feel disregarded or disrespected by official culture, includ-
ing official sports culture. It should appear as if passionate spite against a
popular cultural phenomenon could hardly be packaged or sold. Still, the
mechanism of consumerism may find inroads into the domain of hater
communities as well. As of recently, fan scarves—a standard accessory
for European soccer fans—that feature scornful, though not very creative
messages targeting the opponent (e.g. ‘Scheiß-Bayern’ as the main slogan
on a blue-and-white Schalke 04 scarf) are sold by unofficial, unlicensed,
‘semi-legal’ vendors around the stadium on match day. In the United States,
one can order a rib-knit baby one-piece (for age 3–6 months) by American
Apparel online, carrying the slogan ‘I can’t even talk yet, and I already
hate the Yankees’ (Skreened.com). There seems to be a niche target group
for said items, another proof for the difficulty, maybe even impossibility
of subcultures to be and remain completely unpopular and outside of ‘the
system’.
A Typology of Anti-Fan Motivations
After the deductive approach to the question at hand—applying exist-

ing theories of fan societies to this new phenomenon—a brief inductive,
qualitative study concludes this paper. For that, I have conducted a
discourse-analytical examination of the contents and discussions in hater
communities online. The dataset included freely accessible texts, com-
ments, and images in comparably large Facebook groups that deal with the
hatred towards certain clubs in the USA (New York Yankees, LA Lakers),
Germany (TSG Hoffenheim, Bayern Munich), and England (Chelsea F.C.).
Obviously, users in said groups use different languages, i.e. Hoffenheim and
Bayern haters communicate in German, which is certainly a point in case
of the assumed restrictedness to national leagues or cultures. Soon during
research, it became clear that visual elements—photoshopped images and
‘internet memes’ to mock or insult players or opponent fans—also play an
important role in these groups, which is why a combination of methods that
pay close attention to pragmalinguistic details (such as outlined in Wodak
and Krzyzanowski, for example) with a method that addresses the semiotics
of visual media (cf. Van Leeuwen and Jewitt’s edited volume) was applied,
while keeping in mind the communicative particularities of multimedial,
‘Web 2.0’-based discourses (cf. Hinton and Hjorth).7 The result is a tentative
typology of hater fans, which reflects some of the prior arguments well,
while extending others.
The first and very central reason for the overt contempt of one team
across a whole country or sports culture can of course still be found on the
axis of class. Teams that dominate a certain league over a longer period of
time usually do so because of their financial dominance; naturally, their
continued success often leads to an even larger gap between ‘poor’ and ‘rich’
teams. One of the central problems of capitalism—‘the rich are getting
richer, the poor are getting poorer’—seems to be mirrored in sports. Though
of course the market logic in sports is actually much more complicated (cf.
Sage; Senkbeil, Ideology), young men may have their first contacts with the
injustices of the capitalist order through sports. Professional team sports
are easy to understand, and they blatantly show how ‘inherited’ wealth
and success are inseparably interconnected, which some consider unjust
and in seeming opposition to the ideal of a ‘level playing field’. This makes
it relatively easy to hate the ‘fat-cat capitalists’ in New York, London, or
Munich. The fact that this first underlying principle of fan hatred seems to
have a clearly anti-capitalist dimension should by no means be mistaken
with the idea that all hater communities are politically left-leaning. In fact, I
have demonstrated elsewhere that discourses of anti-commercialization in
sports cultures surprisingly often stem from conservative, even reactionary
political stances (cf. Senkbeil, Ideology, 136–48).
As a counterpoint to success through financial dominance, anti-fans usu-
ally argue that poorer teams have more authentic emotions and ‘passion’. For
instance, a widely bought and worn baseball fan T-shirt from Boston reads
that any game against the New York Yankees is a contest of ‘Passion vs Payroll’
(cf. Facebook.com; community ‘The Boston Red Sox Block’). Ironically, the
Red Sox from Boston are not a team with a particularly small payroll either;
their self-proclaimed image of a team from and for the working class is a
clever PR invention rather than an accurate representation of reality. A look
at this and a large number of other statements and images online reveals
that hater fans do not need logical reasoning or factual evidence for their
claims. This observation is largely congruent with Maffesoli’s argument that
postmodern pseudo-tribes often celebrate irrationality (cf. 143–45), hence
defining a counterpoint to the rationalized work-ethic-driven everyday life
in Western capitalist societies. Also, a related study has shown that overly
emotional, irrational, ‘passionate’ behavior and statements belong to the
characteristics that many sports fans (‘normal’ fans and haters alike) cherish
most, not only among themselves but also with regard to their heroes on
the field (cf. Senkbeil, ‘Apollo’).
The second pattern that can be found among hater groups, complicating
the prior argument a bit, has to do with a differentiation of ‘old money’
versus ‘new money’. Recently, the newly found wealth and success of some
teams stem from external sources, i.e. billionaires who bought themselves
into a leadership position of a sports team and now support that organiza-
tion with money they earned in non-sports-related businesses. Leading
examples from Europe include Dietmar Hopp, software mogul and one
of the richest men in Germany, whose funds helped the village club TSG
Hoffenheim join the top ranks of German soccer. The largest community
of ‘Anti-Hoffenheim’ fans blames that club for being ‘without tradition,
without values, whores of commercialization’8 (cf. Facebook.com; commu-
nity ‘Anti-Hoffenheim’). The choice of words here, in its offensiveness and
explicitness, is in fact quite representative; many insults directed at players
and managers of the hated clubs include sexualized overtones, sometimes
interwoven with misogynistic or homophobic tendencies. I will revisit how
gender intersects with hater fans performances later.
Another example is Roman Abramovitch, a Russian billionaire who owns
Chelsea F.C. and whose money transformed it from a mediocre working-
class club into a UEFA Champions League winner. English fans of teams
without such external support hence consider Chelsea the ‘scum of the
land’ (cf. Facebook.com; community ‘I hate Chelsea, scum of the land’).
In the USA, Mikhail Prokhorov, another Russian industrialist billionaire,
was the key figure behind the recent transformation of the notoriously
unsuccessful basketball franchise New Jersey Nets into a cool, hip, urban
brand, the Brooklyn Nets. Not only local communities were skeptical of the
consequences of the influx of external money on the borough of Brooklyn
and on American basketball in general. This development marks the most
recent one (the Nets have played in Brooklyn since 2012), and it will be most
interesting to observe the reaction of American basketball fans across the
nation when the Brooklyn Nets actually start winning championships.
Either way, newly found success based on external funds often generates
strong condescension from the self-ascribed traditionalists within a sports
community. In this respect, supporters of notoriously underfunded but
traditional teams (a German example would be 1. F.C. Nürnberg) interest-
ingly come to fully agree with fans of traditionally big, rich, and successful
teams (e.g. Borussia Dortmund). As mentioned above, popular cultures’
fan communities often adapt the mechanisms of ‘social hygiene’ from the
official culture that they are allegedly opposed to. From that perspective,
the traditionalists’ backlash against nouveau riche teams does not come
as a surprise: traditionalism and discrimination against newcomers—and
particularly towards the nouveau riche—is and was one of the core strate-
gies and practices of gatekeeping and exclusion in aristocratic and later
bourgeois forms of high culture. With that argument—‘they don’t belong
here; only we do, because we have a long tradition of being here’—anti-fans
showcase a logic and behavior that is decidedly conservative and ‘petty
bourgeois’. It stands to argue whether this second set of reasons for hatred
towards a certain team is more prominent in Europe than in the USA. It
would not come as a surprise if the different cultural and social histories
on opposite sides of the Atlantic have rendered overt contempt towards the
nouveau riche a European, and not a typically American reaction.
The third type of reason that I would like to discuss here functions outside
the realm of economic realities and envy. Examining the discourses and
semiotics in stadiums and online indicates that overt hate towards virtually
all of the teams mentioned so far crystallizes around powerful men, whose
name is inseparably interwoven with the rise to power of the hated team.
Dietmar Hopp from Germany and Roman Abramovitch from England have
already been mentioned. Uli Hoeneß, former president of F.C. Bayern, one
of the most successful soccer clubs in Europe, fits into the same category.
In the USA, George Steinbrenner of the New York Yankees, and Jerry Buss
of the Los Angeles Lakers played a similarly singular role over a span of
several decades. A closer examination of these public personalities reveals
striking similarities, even though they functioned in geographically and
culturally very distant places. These parallels thus deserve close attention.
Obviously, these owners and managers are all male, white, comparably
old, and rich. Neither of them was born rich, but they all stem from a
lower social class and became self-made millionaires. A look at their public
performance and personas reveals that all of them are widely known as
strong-willed, uncompromising, bold, and sometimes brash in their way

of doing business. When they appear in the media, they are portrayed as
highly self-confident—their opponents often call them arrogant—as they
like to showcase their power and influence in the sports scene and beyond.
They seem to enjoy letting their fans and opponents know that they are
convinced of their own managerial qualities, and have only little respect
for opponents who show less talent and willpower than they themselves
have shown in their careers. Within their clubs, their power and leadership
is rarely questioned; in fact, these men often talk about their organizations
in terms of ‘a family’, in which loyalty and mutual care play a central role,
of course under the watchful eye of the powerful patriarch.
Let us connect these striking parallels with the observations about age
and gender made above. Sports are today’s prime field in which societies
negotiate and define their desirable and undesirable types of masculinity
(cf. Whannel 159–72). Symbolic rule-breaking and rebellion is not only a
characteristic of hater fans, but, in fact, typical of a certain type of idealized
masculinity (cf. Senkbeil, ‘Apollo’). Young fans (normal ones and haters)
are at a stage in their lives in which their masculinity is yet to be fully
defined; many of them are still testing their limits and play with identity
choices. Traditionally, adolescents (particularly males) have had to rebel
against their fathers during that period, i.e. against older men, whom they
experience as wealthier and more powerful than themselves, and who—to
a teenager—appear arrogant and unwilling to compromise. In other words,
I argue that sports fans ‘love to hate’ these powerful men and the teams
they represent because they symbolically rebel against imagined father
figures. I hold that this may be a particularly meaningful practice today,
because we live in an era in which the real fathers of these young men
often do not qualify as crystallization points for teenage rebellion. The old-
school patriarch, i.e. a domineering, overpowering, sometimes tyrannical
father, who only demands discipline and obedience from his children and
otherwise totally inhibits their freedom, may still be a trope in popular
culture, but is luckily rare these days in Western societies. The fathers
of today’s sports fans in their teens and twenties themselves grew up in
the 1970s and 80s, i.e. in a period in which the biggest battles against the
traditionalistic tyranny of family patriarchs had been already won, both
in North America and Europe. Simply put, many young men at college age
today probably have rather nice dads, on average.
This is where a virtual ‘straw man’ father figure (the old man at the
top of the opponent team) may serve a collective psychological function
in that he invites fans to communally join in rejecting this overpowering
male and his cause. This symbolic rebellion, which never becomes really
violent or dangerous,9 may (still) be part of growing up and of defining
one’s masculinity. Ironically, this behavior is marked as rejection of adult
behavior on the surface, but on the level of the peer group it prepares young
men to be accepted into the ranks of male domains in official adult culture
later in life. Specifically, this may mean becoming a father yourself later, or
becoming a successful, career-oriented, self-confident man at some point
later in your life. The degree of aggression that these powerful men in the
sports business have had to face is always caused by a mix of envy and
pseudo-adolescent rebellion, but also by a fair share of (secret) admiration.
To conclude this tentative typology of haters based on an inductive
analysis of Facebook group contents, it is probably safe to say that the three
outlined rationales intersect at various points and influence each other.
Jealousy towards the rich, a ‘mock class struggle’, and the mechanisms of a
shadow cultural economy as an extension of and opposition to mainstream
sports culture remain in place as strong motivations to hate a certain team.
Yet, also in terms of the sociocultural work that this unpopular strand of
fan culture is able to do, we should not underestimate the psychological
undercurrents that deal with the negotiation and definition of young men’s
masculinity in opposition to real or imagined father figures.
Conclusion
The assessment of whether anti-fan groups are more or less comparable to

‘normal’ sports fans has shown that many typical characteristics of fans
of any type of pop culture can indeed be applied to anti-fans as well. The
parallels between anti-fans and other sub- or youth cultures included the
distinction against the larger mainstream (here: of so-called ‘fair-weather
fans’), the active participation and creative work of individuals within the
group, the accumulation of an elusive type of social capital (though on a
smaller scale and nowadays mostly virtual, in social media), and also first
attempts of consumerism to commodify the signifying processes of that
subculture. To gather a full picture of the motivations and rationales of hater
fans, who on the one hand find unpopular what the mainstream sports
consumer finds popular, and on the other hand hope to make themselves
unpopular with this ‘mainstream other’, we probably have to combine ‘clas-
sic’ economic reasons (symbolic class struggle, traditionalism, and jealousy
towards the nouveau riche) with the dynamics of gender, particularly in
the complex sphere of masculinity during adolescence.
Notes
1. In this chapter, I specifically focus on successful teams that are met with
overt contempt throughout a nation, or more specifically the leagues in
which they play (whose borders usually but not always coincide with
national borders). That is to say, heated rivalries that are locally restricted
to two cities, regions, or parts of town are explicitly not part of my argu-
ment here, as they usually follow more ‘reasonable’ rationales than those
of the ‘united haters’ from all over the league. Bipolar sports rivalries often
resemble remnants or aftermaths of serious political, ethnic, or religious
conflicts in the past, such as in the rivalry of Glasgow Rangers and Celtic,
or in the Madrid vs Barcelona rivalry in Spain (cf. Mandelbaum; Dunning,
Murphy and Williams). Other traditional city rivalries seem to follow a
Freudian psychological pattern, the ‘narcissism of small differences’, in their
partly playful, partly serious teasing and mutual ridiculing, such as in the
New York vs Boston rivalry, or the feud between Dortmund and Schalke in
Germany. Hater fans, as I hope to show here, cannot be explained by either
line of reasoning though, but follow different social psychological patterns.
2. For lack of a better term, I use the expressions ‘anti-fans’ and ‘hater fans’
synonymously throughout this paper, though clearly both are neither very
precise nor satisfactory in explaining what these people do, and why. The
English language in fact provides no clearer or more precise term for this
phenomenon, a case in point of the general irritation that spawned the
research for this paper: an ‘anti-fan’ is first and foremost an inherently para-
doxical entity (much like the title of this volume, ‘unpopular culture’).
3. The term ‘official culture’ (a translation of the French ‘culture officielle’,
describing the culture of the elites in French sociological discourses) may
strike us as a bit imprecise from today’s perspective. Cultural Studies schol-
ars today might opt for more exact labels such as ‘currently dominant’ to de-
scribe the same practices, hinting at the ambivalence and mobility of what
is deemed ‘official’ and institutionalized in a given time and place. I will
nonetheless use the term ‘official culture’ in the discussion of Bourdieu’s
and Fiske’s arguments in this paper, as it reflects the original diction of
those foundational works most precisely, but also because it is exactly the
shifting status of what used to be and what is today ‘official’ and ‘unofficial’
about sports fan culture that will prepare my later arguments.
4. In the U.S., the college sports system of course is a strong influence: col-
lege football and basketball games are known to draw much noisier and
sometimes rowdier crowds than professional games, often due to the fact
that those crowds largely consist of fellow students of the athletes. Still, in
Europe, which does not have a comparable college sports scene, many lead-
ing figures of ‘ultra’ fan groups in soccer are eloquent and well-organized
young men attending university (cf. Schwier 26–27).
5. ‘Weil ich den FC Bayern für immer hassen werde’ (trans. KS. Facebook.com)
6. It is one of the ironies of the Facebook age that its members cannot simply
indicate their ‘hate’ for anything but can only ‘like’ or ‘become a fan’. A
thumbs-down icon does not exist. The mentioned process of declaring
oneself a hater of the Yankees (for example) thus only works via a logical
detour (‘I like that I hate the Yankees’), which is, on the one hand, syntacti-
cally quite revealing, and on the other hand highlights the unpreparedness
or unwillingness of Facebook (today’s main stage to define what is currently
popular) to account for countercurrents and anti-fans of popular culture.
7. For reasons of space, the details of this multidisciplinary methodological
approach cannot be fully elaborated here; I refer to the mentioned original
theoretical and methodological works. In this essay, an overview of the
qualitative results will need to suffice.
8. ‘Traditionslos—Wertlos—Kommerzhuren’ (trans. KS).
9. To my knowledge, none of the mentioned team owners and presidents have
ever been really physically attacked or hurt by opponent fans. Aggression
towards them is always limited to verbal abuse in stadiums or online.
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ences. Basingstoke: Palgrave MacMillan, 2008. Print.
Popular, Unpopular
When First World War Museums Meet Facebook
Catherine Bouko
Let us start this paper with a simple question, which many cultural educa-
tion managers are asking themselves as we commemorate the centenary
of the First World War: how does one generate interest in this conflict
among the younger generations when they feel so distant from it? For
example, the British government plans to recreate the Christmas Day 1914
football match between the British and German troops. Here, popular
culture meets historical reconstruction, as football star and pop-cultural
icon David Beckham will be one of the players. Although widely accepted,
the paradigm of ‘popular culture’ is nevertheless not always clear. In the
opinion of Eric Maigret and Eric Macé, the expression ‘popular culture’
is one of those concepts that emerged after the concept of ‘mass culture’
and which clumsily glorify the cultural practices they purport to bring
together without really emphasizing the new forms of relationship that
these practices entail (cf. 10). As far as the media are concerned, the cultural
practices are currently becoming more autonomous; their legitimacy no
longer primarily depends on the domination of one social class over another.
While the relationship between ‘popular’ and ‘unpopular’ media practices is
less frequently subjected to these vertical social breakdowns, this does not
necessarily mean that domination has disappeared; rather, it is apportioned
in a different manner and also takes into account other important variables
(such as age). Nowadays, what differences do we find between the popular
and the unpopular? How do cultural media practices express these differ-
ences? This chapter aims at enhancing our understanding of the manner in
which historical museums, as traditionally ‘sacred spaces’ of high culture,
integrate the codes of popular culture to make the younger generations
sensitive to themes they are likely to consider unattractive. In other words, I
wish to examine how an institution nowadays often considered unpopular,
associated with the values of the traditional, unfashionable, and old, invites
the popular in its treatment of history.
In an attempt to answer these general questions, I have chosen to analyze
the story of the fictional First World War infantryman Léon Vivien that
was disseminated on Facebook. This unique experiment involved present-
ing a fictional approach to the Great War while also incorporating the
278 Catherine Bouko
communicative codes specific to this social network. Over several months

in spring 2013, on an almost daily basis, the DDB communication agency
published online messages posted by the character Léon Vivien, devised
on behalf of the Meaux Museum of the Great War (north-east of Paris). The
story, illustrated by a large number of (audio-)visual documents, is based
on the museum’s substantial collection. Just as on any friend’s Facebook
page, Internet users reacted to Vivien’s messages by commenting day after
day. In total, nearly 7,000 messages were posted by followers and 60,000
people became ‘fans’ of Léon’s page. We thus find ourselves faced with
a media object that, in an original manner, hinges on a topic taken from
high culture—History as presented in museums—with a media support,
namely Facebook, that constitutes the jewel in the crown of popular
contemporary media culture. Two paradigms intersect here: on the one
hand, we observe the paradigm of an emotional bond and intimacy in the
way in which History is dealt with. Initially apparent at the very heart of
museums and in t elevised works of fiction, it is now translated on Facebook
with Léon Vivien’s personal page. On the other hand, we see the develop-
ment of practices within the paradigm of ‘connectivity’ (cf. Van Dijck), of
sociability specific to online social networks. Here, I will try to investigate
how these two paradigms fit into the Léon Vivien project in order to give
new readability and new visibility to the First World War, rendering it a
unique cultural practice at the crossroads of popularity and unpopularity.
This chapter consists of four parts. The first section evokes the changing
paradigm of historical culture in museums and in the media that we can
observe today. Then, the chapter explores how Léon Vivien’s Facebook page
shows analogies with Hollywoodian codes (second section) and how its
way of visualizing the war with photographs mixes fact and fiction (third
section). In the fourth section, I will briefly mention my linguistic analysis
of Léon’s fans’ comments to show how these online exchanges meet the
specific characteristics of popular sociality on Facebook.
1. How History is Treated in Museums and the Media: Ever-

Increasing Emotion and Intimacy
Two concurrent phenomena appeared in France in the 1980s: the mass

integration of television into homes and a new means of relating to History.
The latter, supported by recourse to the emotional and an experience of
war on a personal level, also characterizes the new approach to historical
fact adopted by many museums.
Popul ar, Unpopul ar 279
In a number of seminal papers, Valerie Casey describes the evolution of

museum practices. She distinguishes three categories in her typology: the
legislating, the interpreting (on which we will focus), and the performing
museum (cf. Casey, ‘Museum Effect’; ‘Staging Meaning’). These three types
imply different approaches to the relation between the exhibited object
and the museum, as well as to the authority of the institution regarding
the production of knowledge. The legislating type bases its authority on the
selection and presentation of objects (cf. Casey, ‘Museum Effect’ 4-5). In that
case, the collections’ displays tend to propose a transparent, unmediated
relation between the object and the museum: Trofanenko quotes Ben-
nett to highlight that ‘when placed under the authority of the museum,
artefacts become “facsimiles of themselves” (that function to represent
their own past […].) […] This provided the illusion of certainty’ (Trofanenko
52). In recent years, this transparent relation between the object and the
museum’s visitor underwent profound questioning; the ‘new museology’ (cf.
Vergo) shifts the debate to the question of the consequences of the chosen
displays and has, for example, contributed to unearthing selection processes
for displays and exhibitions thereby complicating the very concepts of
neutrality and objectivity. As Sherman and Rogoff have it: ‘a broad range of
critical analyses have converged on the museum, unmasking the structures,
rituals and procedures by which the relations between objectives, bodies
of knowledge and processes of ideological persuasion are enacted’ (ix–x,
qtd. in Trofanenko 52). For Casey, the second museum type particularly
challenges the institution’s natural authority by highlighting the processes
of mediation. The interpreting museum no longer bases its authority on
the intrinsic value of the object, but rather on its integration into inter-
pretative displays. Historical reconstructions are the ultimate examples
of this approach, and the Léon Vivien project shows that par excellence.
Here, the object’s status is modified: it is no longer significant by itself, but
rather becomes illustrative, in the service of the museum performance.
The interpretative performance becomes analogous with the object. The
mediation by the museum is apparent; the visitor no longer comes in contact
with the object but with the performance of that object. The evolution of
the relation to fiction is important: we move from an object, which is put
into a story, to a story illustrated by this object. To those who consider this
a devaluation of the museum function, Casey replies that this insistence on
mediation stimulates the visitor’s critical mind, as s/he masters the codes
of mass mediation and is thus able to decipher the fictionalization of the
object. For Casey, we here find a marvelous opportunity to question cultural
authority (cf. ‘Museum Effect’ 19). The third museum type—performing, as
280 Catherine Bouko
in ‘living museums’—immerse the visitor into a pre-aestheticized universe,

reconstructed in a human-size in which actors are performing. Here, the
visitor is invited to take part in the fictional world, even if his interventions
are framed and limited. At such moments of encounter, ‘the performance
replaces the museum object’ (Casey, ‘Staging Meaning’ 10) in its entirety.
Casey’s typology highlights the evolution towards a disembodiment of the
object: it moves from the auratic to the illustrative, and even fictional, and
ends up being substituted by the visitor in the museum-performance.
The fictionalization of History reaches its zenith in docudramas. In the
eyes of Isabelle Veyrat-Masson (cf. 113), the Franco-British docudrama D-
Day, leur jour le plus long (2004) signals a clean break in the way in which
History is dealt with on television. Fiction now outweighs fact. History
production in docudramas is accompanied by the controlled treatment
of facts, leaving little room for controversy or the complexity of events.
Notably, docudramas can exploit the assertiveness of fiction, in which it
is not necessary to substantiate a story, in order to present true facts. In
addition to the questions this raises regarding the relationship with the
truth, these docudramas are designed to arouse the viewer’s emotions.
Anne Wierviorka highlights the way in which the broadcasting of a wit-
ness account on television is presented as an intimate moment with the
viewer, who enters into a sort of ‘compassionate pact’ (179) with the witness.
Docudramas exploit subjectivity and emotion as much as possible, to the
extent of superseding factual accuracy. To accomplish this, docudramas
can call upon the world of popular Hollywood cinema. The Holocaust series
illustrates this, whereas the Léon Vivien project shifts this mechanism to
social networks.
2. The Great War as Media Object: The Léon Vivien

Experience and the Hollywoodian Codes
Before analyzing the Léon Vivien Facebook page as such, let us study its
‘promise’. In François Jost’s terms (cf. 48): to what media genre (real, fic-
tional or playful) do the producers relate it? In other words, is knowledge
or entertainment through fiction and/or game promised? If the promise is
a bit ambiguous, it has also evolved over time. The press release of 10 April
2013, which launched the experience, includes formulations that refer both
to the categories of reality and fiction. The release insists on the ‘patronage
by a historian’ and defines this experience as a ‘formidable instrument
of knowledge and collective memory’. Beyond the formulation, which
refers to the two registers of the real and the fictional, the ambiguity of
the press release also lies in the expression ‘genuine human story’, which
functions almost like an oxymoron as it refers to seemingly contradictory
ideas, ‘genuine’ referring to the historical truth, and ‘story’ to the fictional
conventions.
The last message written on the Facebook page (on 24 May 2013), which
is written by the Museum (and no longer by Vivien), mentions more mod-
est objectives, which focus on its emotional charge: ‘This page had no other
goal than making you feel and share, as closely as possible to the human,
what the soldiers of 14 could have lived, as well as the relatives remained
in the back. Your thousands of comments, coming straight from the heart,
showed us that we succeeded’ (Musée de la Grande Guerre de Meaux on
Léon Vivien’s Facebook page, my translation). Here, the issue is not about
its function as learning device but more about a touching, immediate, and
lived experience. As we can see, the promise made to the Internet user
is plural, meandering between knowledge device, emotional experience,
and fictional entertainment. The studies on docudramas and other hybrid
forms often invalidate their historical significance, as Brian McConnell’s
opinion illustrates: ‘Docudrama does not represent historic fact, or history,
or journalism, but crusading entertainment with facts carefully tailored to
sustain a neat storyline and to suit a particular social, political or religious
point of view’ (54). The Léon Vivien Facebook page is not concerned with
these questions inasmuch as it proposes to follow the daily experience
of a called-up primary teacher and does not offer any political treatment
of the conflict. Its point of view is only human size, which makes for its
uniqueness and pedagogical interest. The proceedings of the war are
not mentioned, neither are the specifics of space and geographic locale:
we do not know the name of his training camp, of the trenches where
he fights, of the name of the villages the soldiers cross, etc. The action
evolves in a space-time that is indeterminate, totally fictionalized. The
web surfer does not get any temporal indications either. Vivien’s posts are
dated but these dates do not refer to dates of real events that happened
during the war.
We can draw a parallel between the fictionalization of this infantryman
and some scriptwriting techniques of popular movies, and it is noteworthy
that the museum deploys most of the successful strategies identified by the
famous consultant in scenarios Linda Seger in her book The Art of Adapta-
tion: Turning Fact and Fiction into Film (cf. 52-55), which I will discuss in
the following.
282 Catherine Bouko
2.1 A Rising Dramatic Line, Leading to a Strong Climax
It is interesting to notice that the building of the story, which indeed aims at
a dramatic climax, can be divided according to Aristotle’s three acts theory,
which Seger recognizes. Here, the division sticks with the necessary balance
between the acts: the first one lasts three months and a half; it serves to
introduce the context and then the beginnings of the conflicts from an
external point of view, as Vivien has not been called up yet. The second
act is the longest (five months and a half) as it primarily serves to recall
the everyday life in the training camps and in the reserves, while the third
act is the shortest one (one month and a half) and the most dramatically
intense: Vivien bears witness to the horror of the battlefront by evoking
many particularly violent events in great detail.
In his book Aristotle in Hollywood, Ari Hiltunen shows how most stories,
whatever their geographical origin and the period when they appear, are
structured around the mythic journey of a hero. Most stages of this journey
are also visible in Léon Vivien’s story. John Truby insists on the importance
of the quality of the plot, which is different from the story. Its quality greatly
depends on the ways information is hidden and revealed to the reader. Léon
Vivien’s plot obeys that principle and spreads some touches of mystery.
Mystery is produced when some posts conceal some of the information they
evoke, while at the same time making our mouth water. For example, Vivien
evokes the ‘frightening rumors in the streets’1 (20/08/1914) but does not tell
us which ones. Suspense is constructed when some central and dangerous
events are announced step by step, which leads the reader to anticipate
future developments and to be scared for his hero. For example, Vivien notes
that he is ‘called up by the military doctor’; it is only the day after that he
announces his mobilization, while he often posts several messages a day
and could have stopped the suspense earlier. Suspense reaches a climax
with his last message, ‘they (The Germans) are comi…’ which he cannot
finish. His death will be announced the day after.
2.2 Sympathetic and Univocal Main Characters
Nine characters make up the network of relationships. They all fulfill one
of the four character’s functions identified by Seger. Léon Vivien, Jules
Derème and Eugène Lignan mainly fulfill the ‘storytelling function’: these
characters provide most information. Besides, their personalities are very
much alike: all three adopt a dignified behavior, nuanced words, without
any sputters.
On the contrary, the other male characters fulfill the ‘talking about,
revealing or embodying the theme’ (Seger 124): less used as conveyors of
information, their posts mainly consist of spontaneous, vivacious and not
necessarily nuanced points of view. Most of their comments show their
feeling of unfairness or anger with the monstrosity of the war, which is a
much-developed topic in this Facebook experience. They also fulfill the ‘add-
ing color and texture function’ (Seger 124): these spontaneous characters,
which contrast with the other first three and are never at a loss of words,
provide a certain emphasis to the discussions. The name Lulu L’Andouille,
which could be roughly translated as Lulu the numbskull is a first sign of
it. His wife Madeleine Vivien fulfills two functions: the ‘helping to reveal
the main character function’ (Seger 125): as a confidante who, through their
signs of love, reveals a more intimate side of Léon. As she comments the
war from an external point of view, she also participates in developing the
theme of the horrors of the war and thus also fulfills the second function.
The fictionalization is furthermore created via a process of simplification
and lack of development of the characters as they seem deprived of any
ambiguity and do not change their point of view in the course of the story.
Only Léon Vivien is subjected to transformation: while the beginnings of
the story highlight his patriotism, his posts in the third act demonstrate a
more bitter point of view. The Léon Vivien experience is centered on the
human before the soldier.
2.3 The Human before the Soldier
This humanization of the war comes true through three major strategies.
Firstly, many posts evoke the details of the soldiers’ daily experience, outside
of military operations, or pick up personal anecdotes or precious and mov-
ing moments: he shows the picture of a human pyramid (14/12/14), the toilets
(11/04/15), a picture of his baby (2/05/15), etc. Secondly, many posts mention
the physical sensations felt by the soldiers, whose body is put through the
mill. Descriptions in details of the sensations felt by the five senses offer
a particularly precise sight of the ordeal endured by the soldiers: the bag
which wrecks the back after a walking day (13/04/15), the corpses everywhere
and the ‘mud, even colder than the inert bodies’ (22/04/15), etc. Thirdly, a
tension between the common and the dreadful is developed. About twenty
messages alternate between telling of the horror of the war and the daily life
of the civilians or of the soldiers. For example, on 22 October 1914, Vivien
announces that Madeleine is pregnant. His subsequent message indicates
he is called up by the military doctor. Two crucial posts succeed each other,
284 Catherine Bouko
and, by doing so, associate the private and military registers. This highlights
even more its intensity; indeed, joy quickly gives way to fear.
We have already seen how some messages include a sensational dimen-

sion or a strong emotional charge, furthered by the tension between the
common and the dreadful. The Facebook user is really invited to thrill
with the character. Significantly, the post that was the most ‘liked’ (nearly
3,000 likes) is the one of their newborn’s picture. The family also received
many messages of congratulations. Other posts make use of the sensation
strategy, mixed with emotion, by providing in details crude information:
the story of a sergeant who tries to hold his entrails (19/14/15), of a foot
snatched by a shrapnel (20/04/15), of a meal made of cat (11/05/15), of a
soldier stabbed from end to end (15/05/15). The reader sensitivity is then
severely tested.
The structure and the elements of the story as well as the strategies
implemented to evoke the soldier’s humanity as closely as possible obey
the fundamentals of fiction, according to which the story must invite the
reader to live a genuine experience. For Truby, ‘good storytelling doesn’t
just tell audiences what happened in life. It gives them the experience of
that life. It is the essential life, just the crucial thoughts and events, but
it is conveyed with such freshness and newness that it feels part of the
audience’s essential life too’ (6). Facebook is a great device for creating such
freshness and liveliness.
3 Visualizing Leon Vivien’s War
According to Seger (cf. 54), a story needs to be told visually. A real work
on images has been produced for this Facebook operation. Generally, the
docudrama’s hybridity lies in its articulation between real events and their
audiovisual re-creation. Steven Lipkin highlights how the docudrama im-
plies a specific suspension of disbelief from the spectators: ‘We are asked
to accept that in this case, re-creation, is a necessary mode of presentation’
(68).
In Léon Vivien’s case, the aim of authenticity is not mainly produced
by that re-creation of events. The impression of truth is above all based
on the plentiful use of the Museum’s rich collection of visual documents.
Around a hundred images have been integrated into the story. These are
authentic documents that have been fictionalized. The story is thus not
based on real facts, but on documents that were integrated and adapted
to the story. At least f ive methods were used to that purpose. Firstly,
the creators of Léon’s Facebook page have customized blank documents.
This method has been deployed twice by integrating the names of the
characters and the dates in the blank spaces in these documents. For
example, we can see Léon Vivien’s personal call under the flag (4/11/14)
and Eugène Lignan’s ‘war godmother’ certif icate (11/05/15). If the f irst
document is easily understandable for the reader, the second one, less
known, might remain unclear and ambiguous as it is not explained that
war godmothers were soldiers’ pen pals. We see to what extent the inte-
gration of documents does not primarily aim at providing explanations
about the war but rather serve as a support for the fiction. Indeed, the
comment that goes along with this document only refers to the fictional
elements. Secondly, some objects have been contextualized through the
use of photographs. A dozen pictures show a modification of the relation
to the object: the original picture, which comprises a neutral frame and
show the object as element of the Museum’s collection, has been modified
in order to include the narrative context. Vivien’s comments emphasize
this fictionalization. The object’s value is no longer intrinsic but depends
on its possible integration to the fiction. For example, the infantryman’s
backpack has been personalized for Vivien. It is now photographed in
his bedroom. Some objects are photographed in the soldier’s hands (an
amulet on 27/04/15, a knife on 21/05/15). From a ‘neutral’ point of view,
the audience moves to a subject-centered one, impregnated with the
soldier-photographer’s sight, who lives with these objects. Thirdly, some
pictures’ caption and context have been removed. Nearly ten pictures
initially include a caption or a context that have been erased for their use
in posts. These original frames are replaced by Vivien’s comments, which
situate them in the fictional space-time, as for the wake up in the bedroom
(10/11/14), etc. These comments sometimes mention instants of life that
happened before the picture, or will happen after it: the bedroom’s picture
would have been taken after a training session, etc. The image’s production
of a snapshot is integrated into a longer temporality. Fourthly, the portraits
used for the profile pictures on Facebook have been drawn on purpose,
in order to avoid any regrettable confusion between the character and a
person that really existed. The characters’ faces have been added to some
authentic documents, like on the picture of Léon with Eugène (9/12/14),
etc. And finally, some documents have been modified in order to ‘stick’
more with the story. One picture that is quite known has been modified
so that it is no longer identifiable and not awkwardly positioned within
the story. A half a dozen pictures have been deeply modified: the faces
286 Catherine Bouko
and/or the frame have been changed; some elements have been added or
suppressed. Some establishing shots have been altered (13 and 14 April
1915, 12/05/15). Apart from an adaptation to the story, these manipulations
could also aim to create some visual effect by highlighting some elements
of the document. These five techniques show how the goal consists in
making the images talk in the f iction, making their content alive and
human. Far from a political treatment of the war, this use invites us to
follow day-by-day ‘slices of life’ which are more likely than true. They are
more like ‘symbolizations’ than representations, according to Trouche
(200, my translation).
This important use of images raises several questions. In his analysis
of the documentary series Apocalypse, broadcast on a French channel in
2009, Robert Belot denounces the omission of the sources, which tends to
de-realize the event by transforming it into fiction (cf. 172). Such as reproach
cannot be made against the Leon Vivien experience, as it is presented as
fiction, and thus precisely de-realizes the documents in use. But, as we have
seen, the promise refers both to the authentic and the fictional categories.
The producers do not mention the methods of construction of the fiction at
any time. Without any interpretative frame, the power of truth inherent to
images tends to give a status of authenticity to the Facebook page – authen-
ticity that it does not claim but does not refute either. Niney reminds us of
André Bazin’s famous warning: ‘The spectator has the illusion he observes
a visual demonstration while in reality it is a succession of equivocal facts
which hold together only thanks to the cement that goes along with them’
(112, my translation).
The absence of information about the treatment of the documents pro-
vokes a real risk of interpretative misunderstandings concerning the value
of images as traces of real events. Some comments written by followers give
the impression that they sometimes forget the fictional treatment of the
documents and approach them as a proof of reality. Here, the mediation
typical of the ‘interpretative museum type’ (Casey) is not really visible.
Consequently, in order to become a real pedagogical device, the Léon Vivien
experience should go along with a reflection on the production and on
the modes of diffusion of historical knowledge, and in particular on the
complexity of images and their use as trace; it is necessary to show how
it is a question of a deliberately constructed reality. In those years when
education curriculums focus on critical analysis of historical sources, this
Facebook experience as well as its analysis in class will become unique and
exciting pedagogical activities.
4. The Connectivity Paradigm, or how Facebook is Building

Contemporary Online Sociability
In the analysis of the Léon Vivien story, we have observed the way in which
the mobilization of Hollywood cinematographic codes contributes to famil-
iarizing internet users with the Great War, by avoiding contradictory or less
politically correct opinions and instead focusing on an emotional approach
to an infantryman’s life. Now we shall also see how Facebook, as the media
support for this tale, contributes to rendering the historical treatment of
the 1914–18 War more popular. We know that all testimonies constitute an
undeniably social construct, consistently subjective and conditioned, in
particular by the ideologies of the era to which they belong as well as the
chosen distribution channel. Let us therefore briefly consider the way in
which Facebook operates, as the foremost support for sociability and content
sharing at the beginning of the twenty-first century.
According to Van Dijck, the initial ‘participatory culture’ of Facebook has
been transformed into a ‘culture of connectivity’ (4–5); the initial utopian
social design has been overtaken by automated technologies that strongly
influence social practices on Facebook, which raises questions regarding
the molding of cultural practices: with a ‘shift from user-centered con-
nectedness to owner-centered connectivity […] do social media platforms
stimulate active participation and civic engagement, or has collectivity
become a synonym for automated collectivity?’ (54)
What remains of the utopian ambition of the first few years? In Fabien
Benoît’s opinion, Facebook still conforms to an online ‘Bisouland’ (47),
which we can translate as ‘Kissland’, populated with ‘Care Bear’ users.
Sharing, friending and liking are not innocuous powerful ideological
concepts: relativism rules while conflict and contradiction have no place
on Facebook. Above and beyond the endogamy this creates—we become
friends with people who are like us—and the social fragmentation this
maintains—the most privileged social classes are the ones who most benefit
from the network, particularly from a professional standpoint—the way in
which Facebook functions prioritizes the sharing of emotions rather than
a rational approach to the world with its complexities and differences. The
simple fact of being able to like nearly everything, while a dislike function
does not exist, stands as witness to this.
It is worth noting that the forms of sociability Facebook prioritizes
can also be found in followers’ comments. After each message from Léon
or another character, many messages (and sometimes hundreds) were
posted. However, the characters never replied to followers’ messages. In
288 Catherine Bouko
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Figure 1: Types of comments written by Léon Vivien’s fans, who follow this character’s adventures
on his Facebook Page
our examination of the 6,669 written messages, we identified the following

practices, drawn from the ‘affinity space’ (Gee) surrounding Léon Vivien
and the Great War, which confirm the hypothesis of a ‘Kissland’ conducive
to emotion. First, it is observed that 58.2% of the comments show their
author’s adhesion to the fiction: the majority of the fans followed Vivien’s
story respecting his timeline, as any other Facebook friend’s page. In 36.7%
of the comments, the fans approach his story from a past stance. Very few
comments explicitly indicate doubts about Vivien’s truthfulness (only 0.1%).
40.9% of the messages are ‘narrative’ (based on experiences, beliefs, doubts
and emotions), while 54.2% are non-narrative (based on natural (physical)
reality, truth, observation, analysis, proof and rationality). Noticeably, the
page did not primarily stimulate exchanges of information: only 9.3% of
the comments can be classified in this category. Facebook’s social mecha-
nisms also characterize Vivien’s affinity space (see fig. 1 below): like other
Facebook pages, it mainly appears as a conveyor for social interactions: his

fans first used it to express an empathetic relationship with the characters
(25.3% of the comments), by encouraging, supporting or advising them.
Léon Vivien’s fans also wrote comments to give their opinion about Léon’s
posts (19.8%), about the war in general (10.2%) or, more rarely, about our
present time (2.4%). The sharing of emotions was also a common reason
for writing a comment (10.4%).
As we have seen through the analysis of the Léon Vivien story as well as
of the comments left by his fans, this unique way of presenting the Great
War jostles the relations between the paradigms of high culture and popular
culture in particular. Via a knowing blend of historical fact and fiction, the
Vivien tale prioritized emotion and united fans in an empathic experience of
the war. In doing so, the creators of this experience on Facebook somewhat
pay homage to the soldiers’ subjectivity. To some extent, they transpose
the principles of the New History to this docufiction: ‘creating an empathy
with the past is surely at least as, if not more important, than any flawed
attempt to resurrect the past under the belief that it comes back to us as it
really was’ (Munslow 147).
Note
1. Léon Vivien’s messages were only written in French. In this chapter, his
messages in English are my personal translations.
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Revue d’Histoire 107 (2010): 171–75. Print.
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—. ‘The Museum Effect: Gazing from Object to Performance in the Contemporary Cultural-
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Unpopular American Natural
Calamitiesand the Selectivity of
Disaster Memory
Susanne Leikam
Why are images [of destruction] ubiquitous? What makes disaster so

fascinating, so thrilling, so involving? […] Who, exactly, needs disaster?
In one sense everybody, or nearly everybody. The culture of calamity
reveals a general psychological addiction to images and stories of
disaster in our society, though this varies in significant ways across
registers of class, gender, and race. There is also a decisive structural or
ideological component to the American dependency on disasters.
—Kevin Rozario, Introduction to The Culture of Calamity:
Disaster and the Making of Modern America (2)
Introduction
When it comes to the nineteenth-century United States, Kevin Rozario’s re-

flections on the ‘American dependency on disasters’ (2) and the ‘intrinsically
fascinating’ nature of spectacles of calamity (5) in his seminal The Culture of
Calamity: Disaster and the Making of Modern America (2007) seem to apply
without restrictions. Calamities such as the Great San Francisco Earthquake
of 1868, the Great Chicago Fire of 1871, Charleston’s Great Earthquake of 1886,
the Johnstown Flood of 1889, Galveston’s Storm of 1900, and many more
disasters from all around the world—whether in the form of embellished
eyewitness reports, instant histories, literary adaptations or as dramatic
stereograph views, photo series, and sentimental postcards—constituted
an integral part of contemporary American cultures.1 In spite of being often
derided as frivolous entertainment, these frequently mass-produced and
commercial items showed an immense popularity and a high circulation
all through the nation and beyond.
This enthrallment with natural disasters2 was not limited to the
sensationalist ‘low-brow’ approaches but also extended to more rational
philosophical or scientific ‘high’ culture treatments of calamities: newly
292 Susanne Leik am
established branches of the natural sciences such as meteorology, pyrol-

ogy, or geology (here especially the supporters of catastrophism) avidly
conducted studies on these calamities to better understand the partly
still mysterious natural phenomena; civil engineers, architects, and city
planners were equally interested in the calamities for the purpose of
constructing safe cities; and philosophers and theologians grappled with
moral and ethical explanations of disasters and their implications for the
nineteenth-century United States (cf. Cahan 3–13; Oldroyd 88–128; Tobriner
3–104). Yet, there was another category of calamities that was on the whole
excluded from the popular disaster culture, nor was it generally a part of
‘high’ culture engagements with disasters.
Following Martin Lüthe and Sascha Pöhlmann’s conceptualization of
the unpopular as a third term ‘that breaks open the dichotomy of high and
pop culture, denoting that which is not part of a (perceived) mainstream
mass culture but not part of a bourgeois high culture either’ (18), these
calamities can be described as ‘unpopular’. This does not mean that they
always remained culturally unproductive in both categories. Rather, it
means that despite having had all the prototypical elements that made
(natural) disasters ‘intrinsically fascinating’ (Rozario 5), i.e. a considerable
amount of damage to human life and property as well as bizarre, sudden,
and at the time mostly inexplicable natural spectacles, they were for a
longer time period neither evidently popular in ‘high’ nor in ‘low’ disaster
cultures. Unpopularity thus does not only pertain to the immediate reac-
tion to the disaster but also involves the processes of its memorialization.
Cultural memory, which arises out of the ‘production of inclusion and
exclusion’ (Hebel x) of historical events and which is consequently inextri-
cably tied to forgetting, needs to be understood, according to Udo J. Hebel,
as ‘the place and process where past and present interact in instances of
individual and communal self-positioning and definition’ (x).3 In this man-
ner, an exploration of cultural (disaster) memory reveals crucial insights
into the cultural, political, and economic concerns that necessarily have
to be involved in a particular disaster in order for it to become a produc-
tive part of public discourses and to be visible in ‘high’ and ‘low’ cultural
spheres. In the following, this chapter analyzes two particular case studies
of natural catastrophes that were not (or only much later) taken up into the
‘canon of great nineteenth-century American natural disasters’4 in order
to illustrate that the unpopularity of natural calamities is not an inherent
condition or arises arbitrarily. Rather, I argue, it is the result of economic,
cultural, and political endeavors struggling for hegemony in American
Unpopul ar American Natur al Cal amities 293
cultures and as such also often directly related to the popularity of other
historical moments.
The nineteenth century constitutes an apt point of departure for a study
of the cultural memory of natural disasters in the United States for several
reasons. First, the growth of the cities, the rising population density, and
the increasingly vertical extension of urban space exacerbated the number
of fatalities and also resulted in costlier and also more eye-catching dam-
ages, which put these catastrophes even more prominently on the map of
nineteenth-century America. Besides, the burgeoning print culture and
the progress in publication technologies enabled a cost-efficient and fast
dissemination of (illustrated) disaster news all through the nation and
allowed for the publication of so-called instant disaster histories within few
weeks after the calamities. Particularly in the second half of the nineteenth
century, the illustrated magazines Frank Leslie’s Illustrated Newspaper (1855)
and Harper’s Weekly (1857) as well as the self-pronounced ‘Printmakers to
the American People’ Currier & Ives satisfied their readers’ craving for
images of disasters (cf. Casper 40–69; Gessner; Peters).
Moreover, the nineteenth century was also the time of the profession-
alization and institutionalization of the sciences, which, together with the
refinement of empirical research technologies, enabled the establishment
of specialized research disciplines concentrating on the study of very par-
ticular phenomena such as meteorology and seismology. As a result, major
natural calamities were not only well-documented but also prolifically
discussed in terms of their geophysical causation and with regard to their
prevention (cf., e.g., Kutzbach; Oldroyd 88–128). Despite the strong influence
of Enlightenment ideas, theological and philosophical explanations of these
disastrous events, equally aiming to make sense of them, continued to
produce similarly powerful debates in ‘high’ culture for most of the century.
Ultimately, departing from the nineteenth century makes it possible to trace
changes in the ‘unpopularity’ of natural disasters over the course of several
decades to scrutinize how their status changes over time.
The New Madrid Earthquakes of 1811/12
The first case study explores the so-called New Madrid Earthquakes of
1811/12, which comprised over 3,000 distinct seismic shocks over a period of
five months starting in December 1811. They would be referred to regionally
as well as (trans)nationally as the ‘Earthquake America Forgot’ (Steward
and Knox) and as a natural calamity ‘gradually and inexorably forgotten,
294 Susanne Leik am
the memory […] dormant for over a century’ (Valencius 11). With estimated
magnitudes of up to 7.7, these tremors constitute the ‘largest outburst of
seismic energy in American history’ (Steward and Knox 15). The three
strongest shocks alone, according to the United States Geological Survey,
rank among the greatest earthquakes ever to occur in the contiguous
United States.5 The epicenter of most tremors, and thus also the most
devastating damage, was situated near the small town of New Madrid,
which was located in the very south of the Missouri Territory right at the
Mississippi River. Yet, the earthquakes must have been felt with vary-
ing intensity from Canada to New Orleans and from New England to the
prairies in the West. At the time of the earthquakes, New Madrid had been
an aspiring new ‘gateway to the West’ (Zeilinga de Boer and Sanders 126)
and an up-and-coming central trade node in the Mississippi River traffic,
but it was completely destroyed through the seismic shocks and therefore
(temporarily) abandoned (cf. Rozario 57–63; Valencius 14–107; Zeilinga de
Boer and Sanders 108–28).
At the time, there was no central authority to record the number of
fatalities in the United States and the adjacent territories, which is why
the figures can only be estimated. According to recent reassessments,
the number is in the range of about 1,000 (cf. Steward and Knox 240). The
continual earthquakes also caused substantial changes of the visible land-
scape spreading about 600,000 square kilometers around the epicenter
(U.S. Geological Survey): seismic phenomena included the liquefaction of
landmasses, causing entire settlements to slide into the river or be eroded
by the strong currents, the sinking of many boats in the agitated river waves,
spectacular sand blows, and the appearance of deep seismic cracks in the
ground. Raised fault blocks further functioned as dams, famously reversing
the flow of the Mississippi River for several weeks (cf. Fuller; Penick; Rozario
57–63; Zeilinga de Boer and Sanders 108–28).
In the early 1810s, the earthquakes constituted an immensely ‘popular’
subject matter for the numerous Native American tribes as well as for the
European-American settlers in the region and they proved productive in,
among others, news articles, religious as well as spiritual interpretations,
and life-writing documents such as letters or eye-witness reports. Earlier in
1811, a solar eclipse and the appearance of a comet in the night sky—both at
the time not commonly understood as regular occurrences—had already
heated up the mood for widespread speculations about the nature of these
‘mysterious’ signs. When the earthquakes not only triggered a foul smell
through the release of hydrogen sulphide from subterranean enclosures but
later also a partial darkening of the sky due to dust dispersed in the rural
hinterland, these phenomena were taken as a continuation of spiritual and

religious omens (cf. Zeilinga de Boer and Sanders 120–35).
The European-American settlers in the nearby Mississippi and Mis-
souri regions interpreted the seismic tremors predominantly in a religious
framework. Since the puzzling changes of the landscape occurred in the
emotional atmosphere of the Second Great Awakening, the repeated shak-
ings of the earth—some of them experienced during the actual open-air
camp meetings—were interpreted as demonstrations of God’s power, as
calls to repentance, and also as warnings to return to a pious lifestyle. This
resulted in the conversion of several thousand in the area to Evangelical
faith and brought members to the local Baptist and Methodist congregations
especially (cf. Kanon; Rozario 57–63; Valencius 145–74). The pervasiveness of
religious interpretations of the tremors can also be seen in the institutional
reaction. Asking for financial help from the United States, the Territorial
Assembly of Missouri, for example, referred to the earthquakes—in a rather
Puritan elocution—as one among the ‘Catalogue of miseries and afflictions,
with which it has pleased the Supreme being of the Universe, to visit the
Inhabitants of this earth’ (Clark).
The numerous native communities of the Mississippi Valley and the
New Madrid hinterland similarly interpreted the earthquakes primarily as
spiritual signs. Most prominently and most forcefully, the Shawnee leaders
Tecumseh and Tenskawatawa rhetorically framed the earth’s movement as
an expression of the Great Spirit indicating the need to found an ‘Indian
league’ to restore a bygone Indian world and counter European American
influences in the West. At a time when the tribes had increasingly aban-
doned their traditional ways of life and when territorial conflicts with
white settlers were a quotidian occurrence, the spiritual revival went
together with calls to reunite and resist the encroachment of European-
American settlers. The earthquakes, as Conevery Valencius states, hence
‘added pressure on top of population disparities, overhunted environments,
asymmetrical military force, and a tragically uneven burden of disease,
forces pushing Indians out of lands that Americans wanted’ (59). The native
movements among the Cherokee, Chickasaw, Delaware, Muscogee (Creek),
Miami, Shawnee, and several other local tribes sparked by theses spiritual
interpretations did not only foster political and cultural federations but also
resulted in violent conflicts and war about territory in the West and would
ultimately culminate in the Trail of Tears. The New Madrid Earthquakes
were thus present and visible in the tribal communities in the months and
years after the strong temblors and assumed a crucial role in the foundation
of strategic alliances (cf. Valencius 106–44).
296 Susanne Leik am
In spite of this immense ‘popularity’ in the direct aftermath among both

the European-American communities and the Native American tribes,
people in the Mississippi and Missouri regions slowly grew acquainted to
the numerous aftershocks that continued for several years, and the shak-
ing ground lost its horror. This meant, as a local history noted, that those
living close to the New Madrid seismic zone ‘paid little or no regard to [the
earthquakes], not even interrupting or checking their dances, frolics, and
vices’ (qtd. in Valencius 218; cf. also Zeilinga de Boer and Sanders 111). As
a result, a considerable part of the religious converts—at the time rather
disparagingly termed ‘Earth-Quake Christians’ (Penick qtd. in Rozario
57)—fell away from their faith and left the church communities again. Over
the years, the accounts of the earthquake in the region increasingly turned
into humorously exaggerated stories such as folk hero David Crockett’s
A Narrative of the Life of David Crockett of the State of Tennessee: Written
by Himself (1834). In this manner, the seismic temblors of 1811/12 ‘became
just another part of the tradition of [the embellished] American frontier
tall tales’ (Valencius 6), further effecting the events to lose their status as
‘historical past’ and moving them closer to the realm of legend and folk
mythology.
These processes of forgetting on the regional level intensified with the
influx of newcomers to the region and finally grew to such an extent that in
the regions surrounding New Madrid ‘the great earthquakes of 1811–12 were
virtually forgotten for several generations’ (Steward and Knox 4). This also
meant that no measures were undertaken to prepare for the reoccurrence
of seismic upheaval in the region well into the 1960s. While the New Madrid
calamity was thus very present in the local disaster memory in the immedi-
ate aftermath, it soon began to fade into oblivion with new incomers that
moved to the region and a business community seeking to minimize the
dangers and the risks of their promoted settlements, among others. In this
context, the drainage of the sunken lands, industrial agriculture, and the
building of railroads partly removed the visible traces of the earthquakes
from the land (cf. Valencius 235–49). Besides, American settlers were ‘eager
to erase Native knowledge and claims’ (Valencius 205) to the land and hence
disavowed Indian accounts of the earthquakes. When the New Madrid
Historical Museum opened in 1974, it did not contain any information or
documents on the earthquakes and, according to Steward and Knox, most
local historians—as well as other residents—were not even aware of this
episode in the city’s history (cf. 2–3).
Despite the spectacular natural phenomena, the considerable number of
fatalities, and the widespread damage, the New Madrid Earthquakes did not
constitute immensely ‘popular’ subjects beyond the New Madrid seismic

zone. The War of 1812 and the conflicts building up to it dominated the
national news to a large extent, yet the lack of national exposure is neverthe-
less surprising: on the one hand, the sensational press had already started
their triumphal procession into American homes (cf. Bulla and Sachsman),
and, on the other hand, seismological research and other ‘high-brow’ ap-
proaches were avidly engaged in the empirical study of numerous other
natural phenomena and technological disasters at the time. For example,
the Richmond Theater Fire in Virginia, which killed close to 100 people
in December 1811, ‘excited very much interest and feeling throughout the
United States’ (Kingston 3) and, as Meredith Henne Baker demonstrates in
her seminal study of this event, emerged as a much sought-after topic in
broadsides, press coverage, illustrations, and book publications, which cir-
culated the entire nation for quite some time. Local newspapers did report
on the New Madrid shakes as well as on the unfamiliar natural phenomena
and published eyewitness accounts, but the 1811/12 earthquakes did not
achieve the same popularity in national news or nationwide circulating
broadsides or instant histories.6 As a consequence, they were soon largely
missing from the popular disaster memory until the end of the twentieth
century.
There was only one major exception to this ‘unpopularity’ in national
disaster discourse and it occurred in a very specific genre: starting from
the middle of the nineteenth century and continuing well into the 1870s,
publications started assessing the first decades of the history of the United
States, creating a Popular Descriptive Portraiture of […] Great and Memorable
Events (Devens). With telling titles such as Historical Collections of the Great
West (1854) or Our First Century (1876), these books performed cultural
nationalism and sought to establish a collective past of the United States.
As they had done in the regional frontier tall tales, the 1811/12 New Madrid
Earthquakes signified the frontier setting and character traits in these
publications. Anecdotes of the earthquakes accordingly highlighted the
rough environment of the frontier and perpetuated the resilience of the
‘pioneers’ as a constitutive element of the ‘American’ character.
As mentioned above, the unpopularity of the New Madrid Earthquakes
on a national level also included supposed ‘high’-culture approaches, for
example, in the natural sciences. This was rather unusual for the time:
after the Great Lisbon Earthquake of 1755, the antipode to all unpopular
disasters, the Marquis of Pombal Carvalho had sent out questionnaires
to gain widespread observations about seismic phenomena, and France
inquired about detailed on-site sketches of the damage to buildings from
298 Susanne Leik am
the Portuguese government for the same reason (cf. Fonseca 95–123; Kozák
and Čermák 133–34). The 1783 Earthquake of Calabria, Italy, incited an equal
empirical interest in the scientific community, which is why the Neapoli-
tan Royal Academy of Sciences sent a ‘scientific expedition’ (Keller 151) of
surveyors and artists into the cities as well as into the rural backcountry in
order to record the natural phenomena as systematically as possible. While
so-called naturalists, private people with an interest in their environment,
discussed the seismic phenomena in letters and articles, there were no
institutionalized efforts to unravel the workings of the 1811/12 New Madrid
Earthquakes. Not even eminent English geologist Charles Lyell’s expedition
into the region in 1846 changed this situation noticeably.
Over the years, the credibility of the reports of the New Madrid Earth-
quakes was thus disputed and at times even denied in scientific circles. In
1883, geologist James MacFarlane gave a ‘celebrated paper’ (Steward and
Knox 8) at a conference of the American Association for the Advancement of
Science titled ‘The Earthquake at New Madrid, Missouri, in 1811—Probably
Not an Earthquake’, in which he claimed that the earthquakes had in fact
been mere landslides. While MacFarlane’s proposition was refuted later, it
nourished the legendary character of the New Madrid shakes and fostered
their unpopularity (cf. Steward and Knox 8–11; Valencius 219). As a result,
the first scientific study of the 1811/12 New Madrid Earthquakes was only
conducted a century after the actual events, when Myron Fuller from the
United States Geological Survey systematically recorded the visible altera-
tions to the regional geology in 1911. Yet, in the decades to come, seismology
concentrated mostly on the costal plate boundaries of the American East
and West coast, which is why the mid-American earthquake region did not
yet come into focus in the scientific community.
It was only in the 1970s that concerns about seismic risks and possible
interferences of nuclear power with such hazards led the U.S. Geological
Survey and the U.S. Nuclear Regulatory Commission to undertake large-
scale multidisciplinary studies in the region, which involved a multitude
of federal agencies and educational institutions. These studies exposed
seismic activity and reactivated faults in the New Madrid seismic zone
and propelled the 1811/12 earthquakes (back) into the consciousness of
many Americans, albeit mostly in scientific contexts (cf. Russ and Crone
iii–iv). Those people who did not learn about the scientific recovery found
out about the New Madrid calamity at the latest when in October 1989
climatologist Iben Browning predicted a catastrophic repetition of the
New Madrid Earthquakes for December 1990. While his forecast (luckily)
proved wrong, the evocation of the risk of a recurrence of earthquakes along
the New Madrid seismic zone brought the New Madrid tremors abruptly
back into consciousness and helped anchor them in the national disaster
memory of both ‘high’ culture and popular culture alike (Zeilinga de Boer
and Sanders 136–38). Last but not least, the much-publicized commemora-
tion of the earthquakes’ bicentennial, including conferences, public events,
and information brochures by the U.S. Geological Survey certainly also
helped strengthen this development.
The Peshtigo Fire of 1871
A second strikingly unpopular natural disaster, the Peshtigo Fire of 1871,

occurred six decades after the New Madrid Earthquakes in the rural regions
northeast of Lake Michigan. It annihilated an area of 2,400 square miles/1.5
million acres of forest terrain and therein destroyed several small towns such
as, e.g., Peshtigo, Menekaune, and Williamsonville as well as numerous farm-
ing communities. With a death toll of up to 2,400 people and an estimated
damage of 200 million U.S. dollars (cf. Haygood 12), this firestorm constitutes
the ‘deadliest’ (Gess and Lutz; cf. also Pyne 7) and ‘most destructive fire in
American history’ (Riney-Kehrberg 125) to this day. Despite the firestorm’s
destructive and spectacular nature, it did not achieve the popularity other
nineteenth-century fires enjoyed in the public imagination and is ‘perhaps
the least known of all major natural disasters in the United States’ (Riney-
Kehrberg 126). This is even more astounding when taking into consideration
that by then communication and media technologies had further pervaded
the nation and progressed in quality, reach, speed, and possibilities (cf. Bulla
and Sachsman; Darrah). Inter alia, it was the concurrent conflagration in
Chicago—taking place on the exact same day—that reverberated strongly
with the changes of modernization in the nineteenth-century United States
and thus drew attention away from the Peshtigo region. Due to its exclusion
from the popular disaster memory, the Peshtigo blaze has been nicknamed
‘America’s “forgotten fire”’ (Pyne 7; cf. also Jones).
On 8 October 1871, a warm front moved north from the Gulf coast and
collided with a cold front from Canada traveling south. This storm cell
interacted with already ignited bushfires and turned them into a firestorm,
sweeping through northeastern Wisconsin and northern Michigan and
scorching a territory of the size of Delaware. With estimated wind speeds
of 110 miles per hour, a heat of at least 2,000 degree Fahrenheit/~1,000 degree
Celsius, and rapid shifts in direction, extensive walls of flames razed roughly
2,400 square miles of mostly forested land to the ground (cf. Gess and Lutz
300 Susanne Leik am
101–02, 124; Riney-Kehrberg 126). As a consequence, several farms and parts

of settlements were completely enclosed by flames from all sides, which
accounts for the relatively high count of fatalities.
Causes for the unimpeded and rapid spread of the flames were multi-
layered: first off, the local towns Peshtigo, Marinette, and Menominee
sprouted rapidly growing lumber industries at the time, which thrived on
the increasing urbanization and urban sprawl of the nineteenth century.
With its dense maple forests and the close proximity to a river, especially
Peshtigo occupied a strategic location and attracted numerous investors
such as Chicago’s Mayor William Ogden (cf. Gess and Lutz 18–24). Yet, due
to the speedy processing of the trees, the roads and fields were littered
with heaps of leaves, twigs, bark, and other harvest residue. On top of this,
as fire historian Stephen J. Pyne illustrates, several other factors prepared
the way for an area-wide firestorm:
What we call the ‘Peshtigo Fire’ is a code name for a vast landscape
burning. […] A prolonged drought, a rural agriculture based on burning,
railroads that cast sparks to all sides, a landscape stuffed with slash and
debris from logging, a city built largely of forest materials, the catalytic
passage of a dry cold front—all ensured that fires would break out, that
some would become monumental, that flames would swallow wooden
villages and metropolitan blocks with equal aplomb. (7)
Furthermore, the lack of functioning telegraph lines and other means of

communication prohibited the calling in of outside help. Insufficient fire
precaution, combustible gas build-ups in the lower atmosphere, and the
erroneous belief that fire would eventually produce rain further aggravated
the situation. Up to this day, the starting point of the firestorm has not yet
been identified. What is clear, however, is the fact that already weeks before
the massive conflagration numerous wildfires and man-made blazes—
started either to clear the way for the railroads or to clear land—had gotten
out of hand. Simmering for days, these lines of fire had built the base for
the destructive firestorm to come (cf. Gess and Lutz 13–98; Riney-Kehrberg
125–26; Sawislak).
Just as the New Madrid Earthquakes, the Peshtigo Fire had everything
that seemed necessary to feature prominently in public disaster memory:
spectacular natural phenomena such as fire tornados and spontaneous
combustion, dramatic eyewitness reports, close escapes, and tragic deaths.
Since the wind speed was too fast to outrun it and the strong gusts of air
carried the flames even over clearings, ditches, and plowed fields, bodies
of water were the only (more or less) safe ground. Accordingly, most of
the people who survived either hunkered down with water up to their
necks for hours in the cold Peshtigo River or hid in wells, where many
nevertheless suffocated when the fire consumed the oxygen. Due to the
immense human losses (which in some towns reduced the population by
half or more) and the great destruction of property, the Peshtigo Fire was
highly visible in contemporaneous life-writing documents such as Reverend
Peter Pernin’s eyewitness account and newspaper articles and it constituted
a (sad) landmark in the local communities in the northeastern regions of
Lake Michigan at the time. This also applied for ‘high’-culture approaches
such as scientific studies. Two weeks after the fire (when most reports were
still thought to be highly exaggerated), a local committee investigated the
genesis, course, and extent of the fire—without, however, being able to
fully understand the at the time unknown physics behind the firestorm
(cf. Gess and Lutz 165–67). Whereas religious reactions to and explanations
of the earthquakes had featured large in 1811/12, these were not among the
dominant reactions to natural disasters in the second half of the nineteenth
century anymore (cf. Steinberg 4).
With the flight from the damaged rural farming areas in the long-
aftermath of the conflagration, the arrival of new settlers in Wisconsin
and Michigan, and the gradual loss of eyewitnesses to the firestorm over the
course of time, the events seemed to have lost their immediate importance
and, as in the case of many other historical American fires (such as the Bal-
timore Fire of 1904), began to fade in the cultural memory of the residents in
the region in the first decades of the twentieth century (cf. Riney-Kehrberg
126). According to Denise Gess and William Lutz, ‘[o]ver time, the incom-
plete fragmented story took on the tone and winsome quality of a myth,
a Paul Bunyan tale’, which ‘became a bit of regional elementary-school
history’ (205) in Peshtigo and the surrounding communities. Beyond the
affected regions in Wisconsin and Michigan, the Peshtigo Fire was and
remained rather unpopular—particularly in comparison to the enduring
nationwide fascination with the Great Chicago Fire. This started right after
the firestorm occurred: the remoteness of the rural settlements and the
initial impossibility to communicate the calamity to outside communities
(among others, due to the damaged telegraph lines) enhanced the public
invisibility of the firestorm considerably. As a result, when the news about
the Peshtigo calamity reached cities such as Green Bay, Madison, or Mil-
waukee (and from there the rest of the nation) on 10 October 1871, ‘everyone
in any position of authority had gone to the aid of Chicago’ (Gess and Lutz
158), and with them hundreds of disaster tourists from around the country.
302 Susanne Leik am
With the newspapers, magazines, and parlor-tables full of visual and

written reports on the Chicago disaster, the Peshtigo Fire did not get at-
tention in its own right outside the affected areas toward the end of the
nineteenth century and was rather featured as a brief annotation to the
Chicago tragedy in the nineteenth century.7 The newspapers in the United
States that did report on the Peshtigo Fire, as Denise Gess and William Lutz
state, did not send their own agents to obtain first-hand reports as they had
done in their coverage of the Chicago Fire but ‘simply ran rewritten accounts
from local papers in Wisconsin’ (181; cf. also Lienhard). Even though the
Peshtigo Fire was the dominant subject matter in the affected region in
its immediate aftermath and sparked considerable financial and material
relief from other American cities, it never emerged as a popular motif in
the fashionable graphic accounts of instant histories, stereograph views, or
lithographic prints in nationwide circulation at the time.
Whereas the Chicago Fire, according to historian Karen Sawislak,
hence developed into the ‘first great national “media event”’ (17; cf. also
Smith, ‘Media Event’) in spite of the fact that its size and the number of
its fatalities amounted only to a small fraction of the firestorm that was
raging 250 miles north on the same day, the Peshtigo Fire ended up as a
mere ‘historical footnote’ to the events in the urban space (cf., e.g., Riney-
Kehrberg 126; Sawislak 21). Since the creation of media events requires the
selection of specific incidents (and the dismissal of others), the unpopularity
of the Peshtigo Fire can also be seen as a result of the popularity of the
Great Chicago Fire of 1871. The interest in Chicago was not only limited
to American popular culture at the time, but also included ‘high’-culture
approaches. All over the nation, engineers and architects equally focused
on Chicago as a research subject hoping to achieve valuable insights into
how urban environments and specific building materials fared in massive
urban conflagrations (cf. Sawislak). A good month after the Great Chicago
Fire, an official commission researched the origin and spread of the fire;
yet, it would take almost a year for the U.S. Weather Bureau to come up with
a similar report for Peshtigo. The fact that leading scholars contradicted
each other regarding the proper causation of the firestorm (cf. Gess and
Lutz 204–09) and eyewitness reports were often still doubted as incorrect
might also have contributed to the dismissal of the Peshtigo Fire as a crucial
point of reference for the study of fire and the weather up to the turn of
the century.
Most importantly, however, like the Great Lisbon Earthquake (1755) a
little more than a century before, the fiery destruction of Chicago seems to
have reverberated intensely with the zeitgeist. At the time, Chicago with its
tall buildings, high degree of technologization, and rapid growth embodied

progress, business acumen, and human ingenuity in the West. According to
Carl Smith, the city’s devastation offered an opportunity for all American
urbanites to work through their anxieties about the urban disorder, change,
and instability that had been raised to a new level by rapid industrialization,
immigration, and urbanization (cf. Disorder). Besides, the eyes of the nation
were turned on Chicago in order to find out whether the nineteenth-century
American city would prove resilient and finally continue its economic and
cultural rise. In this manner, Chicago presented the nation with a model of
‘rising from the ashes’—convincing the public of the imminent comeback
and rise of the city far beyond the previous wealth before the streets were
even cleared of debris—which would often be repeated in natural disasters
to come such as the 1906 San Francisco Earthquake and Fire (cf. Leikam
ch.5).
The subject of lofty poetry collections (cf., e.g., Gerty’s 1915 collection),
socially critical novels such as Theodore Dreiser’s 1912 The Financier, and
popular box office successes (cf., e.g., In Old Chicago [1937]) and as a staunch
reference point for the (scientific and quotidian) discussion of all later
American fires (cf., e.g., reports on the Baltimore Fire of 1904 or the 1906
San Francisco Earthquake and Fire), the 1871 conflagration in Chicago—
commonly referred to as Great Chicago Fire—showed a high cultural
productivity in popular as well as ‘high’ culture into the twentieth century.
The Peshtigo Fire, on the other hand, remained visible only locally—if at
all. This changed in 1910, when devastating firestorms in the American
West let the U.S. Forest Service ‘unearth’ the occurrences at Peshtigo and
include these in their research. During the Second World War, the Peshtigo
Fire was again brought to attention, this time by the U.S. Army studying
the creation and handling of firestorms as possible military weapons (cf.
Gess and Lutz 208–09; Riney-Kehrberg 126).
From then on, the Peshtigo Fire served as a particular model (the so-
called ‘Peshtigo paradigm’) in the field of fire history and military use of
fire, which is why Stephen J. Pyne rightly points out that this conflagration
is treated in ‘every survey of American fires’ and has thus ‘never long passed
from our national consciousness’ (7). Yet, despite the Peshtigo Fire being
a household name in a very specialized field of science, the noteworthy
inattention in American public cultures (to a certain degree locally, but
mostly nationally) to it continued over the course of the century—a fact
that both the opening of a local Fire Museum in Peshtigo in 1963 and the
bicentennial of both fire calamities did not seem to have radically altered.
Writing in 1995, Karen Sawislak, a historian of the Great Chicago Fire,
304 Susanne Leik am
convincingly argued that the Peshtigo Fire was still only known by few
people outside Wisconsin (21). Since then, a burgeoning fascination with
‘forgotten’ or ‘lost’ histories and a heightened interest in natural disasters
following the environmental turn in the humanities have resulted in a
wave of recent publications (cf., e.g., Gess and Lutz; Knickelbine; Pernin),
bringing the Peshtigo Fire into the canon of great nineteenth-century fires.
Conclusion
The two case studies illustrate that—regardless of how terrible the loss of
life, how spectacular the geophysical and meteorological phenomena, and
how dreadful the devastation—some nineteenth-century natural calami-
ties moved from a significant cultural productivity in popular as well as
‘high’ culture approaches into unpopularity. This unpopularity was not
accidental but produced by economic, cultural, and political struggles for
hegemony and for visibility in American cultures. In the transformation
from popular to unpopular disasters, the simultaneous occurrence of other
momentous newsworthy crises of national significance (so-called media
events), driving the previously popular (natural) calamities out of the cul-
tural consciousness, played a crucial role. In this manner, the impending
War of 1812 and the Great Chicago Fire drew considerable attention away
from the New Madrid Earthquakes and the Peshtigo Fire, respectively.
Moreover, the Civil War also helped erase the memory of the New Madrid
Earthquakes in the long run, since, as Conevery Valencius argues, ‘[t]he
region of the New Madrid epicenters came to be associated with terrible
battle, not terrible earthquakes’ (222) and with racial strife in the decades
after 1865.
In this context, cultural memory comes forward as disputed territory
with regard to the question of whose stories are remembered and whose
are marginalized. More often than not, the same processes that shape
cultural and political hegemony in the United States today were productive
in determining which disasters were included in the canon of nineteenth-
century disasters and from which perspective(s) they should be told. Along
these lines, the Civil War not only overwrote the New Madrid earthquake
landscape (literally as well as metaphorically) but also obscured the long-
standing Native American presence in the New Madrid seismic zone, ‘along
with the role of the region’s earthquakes in pan-Indian spiritual and cultural
revival’ (Valencius 229). Whereas the recent ‘rediscovery’ of the earthquakes
of 1811/12 also partly brought the Native American experiences (albeit often
mediated by ‘white’ travel reports such as John Hunter’s Memoirs or by

records of non-native anthropologists) on the disaster back into focus
(cf. esp. Valencius), this is different in the case of the Peshtigo Fire. Scott
Knickelbine’s The Great Peshtigo Fire (2012), a historical nonfiction book
for young readers, is one of the very few publications that point to the fact
that the story of the 1871 firestorm also includes the local Menominee and
Ojibwe tribes. Knickelbine states that ‘[t]here is no record of how many of
[the many Wisconsin Indians] lived through the fire’ (53), highlighting the
struggle for narrative authority and commemoration and how this is often
decisively influenced by the question of which documents are culturally
recognized as significant and thus archived and which are not.
Furthermore, both regions, the New Madrid seismic zone and the forested
area around Peshtigo, were rather sparsely settled and removed from the
next urban centers in the nineteenth century. The lack of a local publish-
ing industry and the missing communication networks prevented a rapid
dissemination of the events and additionally diminished the credibility
of eyewitness reports. Besides, the center of the New Madrid Earthquakes
largely lay outside the national boundaries at the geographical periphery of
the United States (mostly in Louisiana and Missouri Territory), which might
have made the earthquakes not as newsworthy to scientists, publishers,
and artists in the urban centers.
In addition, the transformation of the sciences from rather personal
endeavors of interested ‘naturalists’ into highly specialized and institution-
alized collective undertakings also contributed its share to the unpopularity
of some of the contemporaneous disasters. Especially in the first half of
the nineteenth century, individual reasoning on the workings of the New
Madrid Earthquakes, mostly in the form of letters, for example, was for a
long time not accredited as ‘real’ and quality science and therefore only
very recently taken into account by seismologists (cf. Valencius 213–15). This
state of scientific standards contributed to the dismissal of many records
and discussions of early nineteenth-century natural calamities, which in
turn also had a share in the forgetting of these events.
In the nineteenth-century United States, commercial motives further
played a central role in the unpopularizing of natural calamities through
the active masking of risks. The voracious speculation in the American West
prompted many developers to hail land and settlements without disclosing
previous calamities, which might have evoked fears of a recurrence in buyers.
In the New Madrid seismic zone, for instance, railroad, timber, and agricultural
companies advocated swamp drainage as well as an expansion of cultivable
land and the infrastructure by suggesting that the earthquakes of 1811/12
306 Susanne Leik am
were mere legends (cf. Valencius 235–50). Eager to draw investors to the forest
around Peshtigo, newspapers in the region likewise barely mentioned the fires
after 1871 but focused on positive news (cf. Gess and Lutz 192–97). This work, in
the long run, led to an accelerated forgetting—particularly in the contexts of
population expansion. In both cases, the influx of new settlers was immense,
which also contributed to the dilution of the local memory of these calamities.
The two cases in point did not stay unpopular without end, however.
Looking at how these unpopular disasters were brought back into popular-
ity, it can be said that more often than not the driving force seems to have
emanated from the nexus of military (research) and technology. From there,
it subsequently also reached popular culture again. In the case of the New
Madrid Earthquakes, the (legitimate) fear in the 1970s that nuclear power
plants in the active seismic zone could cause radioactive contamination
returned the tremors back into the spotlight of seismic and nuclear research
(cf. Russ and Crone iii–iv). When climatologist Iben Browning predicted
the recurrence of the New Madrid quakes in 1989 with much nationwide
publicity, the potential risk caused strong fears, which bestowed a height-
ened visibility to the historical event. In the same way, the fear in the 1910s
that firestorms such as the one at Peshtigo in 1871 might become more
frequent promoted scientific studies, which were taken up and expanded
during the Second World War, when the U.S. military conducted research
on the possible use of firestorms as war weapons (cf. Gess and Lutz 208–09;
Riney-Kehrberg 126). While issues of (national) safety and security—and
the monetary interests and relationships connected to this—thus played
a crucial role, there were other decisive factors at play.
In an age of information overload and the sheer endless and rapid spread
of news, the retrieval of ‘lost’ stories seems to have gained a particular
attraction as the recent flood of ‘forgotten’ or ‘lost’ histories of events in
American history indicates. Besides, ‘today’s “obsession with memory” and
memorials’, which is ‘grounded in a vastly expanded U.S. demographic and
in heightened expectations of rights and representations among the nation’s
increasingly diverse publics’ (Doss 19), is not only concerned with national
narratives but at the same time—and in particular—with the publication
of counterstatements and less visible (disaster) narratives. The unearthing
of unpopular disaster tales and the new wave of publications on the New
Madrid Earthquakes and the Peshtigo Fire in research contexts (e.g. Gess and
Lutz; Kanon; Lovett; Riney-Kehrberg; Steward and Knox; Valencius; Zeilinga
de Boer and Sanders) and popular culture (in the form of earthquake tours,
popular histories, news articles, children’s books, or reprints of eyewitness
reports) hence show that the ‘rediscovery’ of the unpopular resonates with
the contemporary zeitgeist. In this manner, as Stephen J. Pyne remarked,

by now the Peshtigo Fire’s ‘cachet as “forgotten” has paradoxically helped
make it better known than almost any other rural conflagration’ (7). As of
today, the New Madrid Earthquakes and the Peshtigo Fire are quite popular
in ‘low-brow’ and ‘high-brow’ approaches again (albeit in very different
contexts) and have firmly entered the canon of ‘great nineteenth-century
American natural disasters’. The analysis of these two case studies has
demonstrated that the research of unpopular disasters transcends the local
frameworks and opens up a window into the processes through which
American cultures have made sense of the world in the nineteenth century.
Notes
1. On the nineteenth-century American culture of disasters see, e.g., Ste-

ven Biel’s American Disasters; David W. Bulla and David B. Sachsman’s
Sensationalism: Murder, Mayhem, Mudslinging, Scandals, and Disasters in
19th-Century Reporting; William Darrah’s The World of Stereographs (esp.
156, 161–62); Susanne Leikam’s Framing Spaces in Motion: Tracing Visualiza-
tions of Earthquakes into Twentieth-Century San Francisco; Christof Mauch
and Sylvia Mayer’s American Environments: Climate, Cultures, Catastrophe;
Kevin Rozario’s The Culture of Calamity: Disaster and the Making of Modern
America; and Theodore Steinberg’s Acts of God: The Unnatural History of
Natural Disaster in America. For a discussion of the ethics and aesthetics
of picturing calamities, see Ingrid Gessner and Susanne Leikam’s Iconogra-
phies of the Calamitous in American Visual Culture.
2. By employing the designation ‘natural disaster’/calamity, I want to empha-
size that the calamities discussed here were partly composed of dramatic
natural spectacles such as wild fires and earthquakes and thus differ from
‘purely’ technological or industrial disasters. This terminology, however,
should not indicate that the disastrous effects occur ‘naturally’ and are not
triggered, aggravated, or brought about by human involvement. Rather, in
accordance with the recent use of these terms in disaster studies, it is com-
monly assumed that, in terms of causation, there is no incident, regardless
of how spectacular the natural phenomena involved may be, that is not
in one way or another man-made, harming disadvantaged groups more
than others. This conviction notwithstanding, the visible involvement of
‘nature’ nonetheless changes how people perceive these disasters and how
they frame responsibility and the addressing of vulnerabilities for future
disasters, which is another reason for utilizing the label ‘natural disaster’/
calamity (cf. Aragón-Durand 17–23; Hewitt; Steinberg).
3. While all experience is individual, experiences can be communicated and
mediated and thus be collectively remembered. In this sense, cultural
308 Susanne Leik am
(sometimes also termed collective) memory attests to the self-understand-

ing and worldview of particular cultures or communities that stipulate
certain past events constitutive of their present identity (cf. the seminal
works by Maurice Halbwachs, Pierre Nora, and Jan and Aleida Assmann).
Although emphasizing the intricate entanglements of both, Marita Sturken
has differentiated cultural memory—understood as ‘a field of cultural
negotiations through which different stories vie for a place in history’ (1)—
from history by characterizing the latter as ‘in some way […] sanctioned or
valorized by institutional frameworks or publishing enterprises’ (4) and the
former as exempt from these formal boundaries.
4. The canonization of (natural) disasters goes back at least to the Puritan ser-
mons, which in their typological readings included long lists of biblical and
historical disasters that were taken as models for the interpretation of more
recent calamities. The tradition of discussing contemporaneous disasters in
a framework of historical precursors and (trans)national reference points
was continued throughout the nineteenth century, where, for example, the
Galveston Storm of 1900 was contextualized by medieval Dutch floods, the
eruption of Mt. Vesuvius, earthquakes in San Francisco, and conflagrations
in Chicago and Calcutta (cf., e.g., Lester 497–98).
5. Estimates for the magnitudes vary according to sources. While older publi-
cations list magnitudes of 8 and higher (cf. Steward and Knox 15), the U.S.
Geological Survey places the strongest shock at 7.7 (n. pag.). More recently
scholars have suggested lower numbers (7.5 or slightly below), which, how-
ever, does not dispute the overall momentous and disruptive nature of the
New Madrid Earthquakes of 1811/12 (cf., e.g., Lovett).
6. Albeit geographically far removed, the Caracas Earthquake of March 1812
was met with considerable concern but also sensationalist interest in the
news. Thus, the United States Government immediately responded to of-
ficial requests for support from Caracas in 1812, while New Madrid had to
fight hard for U.S. financial relief in the years after the calamity and only
obtained it in 1815 (cf. Ewell 20–21).
7. Edgar J. Goodspeed’s 1871 instant History of the Great Fires in Chicago and the
West, for instance, devotes 38 chapters (550 pages) to Chicago’s past, the im-
pact of the fire, and the city’s future, before elaborating in three chapters (or
slightly more than fifty pages) on the fires in Wisconsin and Michigan. Other
works such as Elias Colbert and Everet Chamberlin’s Chicago and the Great
Conflagration (1872) only mention the Wisconsin and Michigan firestorms
together with a long list of other fires in world history in their appendices.
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The Unpopular Profession?
Graduate Studies in the Humanities and the Genre of the
‘Thesis Hatement’
Sebastian M. Herrmann
‘Don’t do it. Just don’t! [...] [G]raduate school lasts at least six years and
will ruin your life in a very real way’. This is the bottom line of a 2013
article by Rebecca Schuman in the online newspaper slate.com. Noting
that she is not the first to issue this warning, Schuman adds: ‘well-meaning
academics have already attempted to warn you, the best-known screed
in this subgenre being William Pannapacker’s “Graduate School in the
Humanities? Just Don’t Go”. But this convinced no one. It certainly didn’t
convince me!’ Looking back, she explains: ‘In 2005 when I began my own
Ph.D., I should have known better, but I didn’t. Now that you know better,
will you listen?’
At the time, Schuman’s piece attracted considerable attention, not least
from people procrastinating away in front of their computers while writing
on or researching for their own Ph.D. theses. It quickly garnered Facebook
likes and shares (over 38,000 to date), it invited comments on slate.com (over
1,800 by now), it was shared, tweeted, and retweeted, and it was responded
to in blog posts and other articles. Writing about Schuman’s text in The New
Yorker, Joshua Rothman remarks that the responses were so multiple that
it was ‘as though a virtual symposium [had] been convened’. Looking at
the social media interaction, however, one could observe that, ironically,
Schuman’s message was ‘liked’ by exactly those people who had reason to
dislike it; or, more precisely, that the people most vigorously engaging with
it through likes, shares, and comments were precisely those people who,
according to the text, most emphatically ignored its content: practicing
graduate students, who read the text, shared it, and then continued to
work on their Ph.D. The social media circulation thus suggests that the
text’s audience did not read the article as intended, that they did not take
the advice to turn one’s back to academia, and it thus underscores the
point that Schuman’s article self-reflexively makes with regard to other,
similar texts against graduate school: they ‘[convince] no one’. The tension
between the text’s decidedly, self-avowedly unpopular message and its
mass-circulation—a tension between the texts self-proclaimed meaning
and its pragmatic effect—thus parallels the contradiction Schuman herself
314 Sebastian M. Herrmann
openly performs when she says that warning people against going to grad
school most likely is a futile task—in the very moment of engaging in exactly
this task.
These interlocking moments of contradiction, present in Schuman’s essay
as well as in other, similar texts, mark a particular paradox of un/popularity
that warrants further exploration. Going to graduate school arguably is
an unpopular life decision in several senses of the word: it is a decision
that only comparatively few students will make, an elite decision, and it
is one that is often emphatically and ostentatiously disliked. When asked,
graduate students will quickly speak of the hardships of graduate school,
not of the pleasures of learning and of grad school life. Yet, according to
the logic of the texts by Schuman, Pannapacker, and others, getting a Ph.D.
remains too popular a decision. Indeed, their texts work hard to tell people
that they should like it even less, that even fewer people should do it, that
it should be even more unpopular. These texts, in their circulation and in
the images, stereotypes, and sentiments they invoke, constitute a popular
genre advocating for the unpopularity of the humanities Ph.D.; clearly, they
are shaped by complex and contradictory affective dynamics.
This paper will focus on these conflicted affective dynamics to argue that
they are indicative of the role the humanities play in ‘Western’ society more
broadly. My argument will proceed in four larger steps. I will first present
Schuman’s ‘Thesis Hatement’ in greater detail and will contextualize it with
regard to the larger body of similar texts it is representative of, suggesting
that they constitute a particularly precarious form of (mis)communication
marked by irony and hyperbole. As part of my discussion of this genre of
writing, I will, secondly, provide a brief discussion of the politics of these
texts, arguing that they engage in conflicted and contradictory discussions
of labor, class, income, and academia.1 In a third step, I will then trace these
contradictions on a textual level. To do so, I will attend to the somewhat
limited set of metaphors this genre of writing typically employs in the
attempt to express and come to terms with a presumed popularity paradox:
if they convince no one, if they are advice literature that does not give advice
to be followed, they have a particularly insincere, tropical quality, and
this quality gets expressed and exercised in the tropes they use; attending
to these tropes will thus help unfold the contradictions they negotiate.
In a final section, I will look at the larger textual performance of thesis
hatements to discuss in how far and how exactly these texts undermine
their own presumed project. Thesis hatements, I will thus show, are a deeply
conflicted genre. They do not mean what they say, they use metaphors to
talk about this dynamic without talking about it, and they speak about
The Unpopul ar Profession? 315
conflicted social constellations. As texts about the academy, they are indica-
tive of the conflicted role the humanities play in contemporary US society.
1 Thesis Hatements as Genre
Rebecca Schuman’s ‘Thesis Hatement’ is part of a larger body of texts that

all advise students against going to grad school, and this body of texts, in
turn, ties in to larger discourses on the subject position of the graduate
student, on the university, and on education. Accordingly, I will briefly
describe Schuman’s piece and discuss how both its content and its particular
sardonic tone connect it to larger textual environments.
Rebecca Schuman’s ‘Thesis Hatement’ is a strange product all the way
down from the two titles it bears, both of which already have a distant
ring of (self-)ironizing mockery:2 one is ‘There are no academic jobs and
getting a Ph.D. will make you into a horrible person: A jeremiad’, and the
other is ‘Thesis Hatement: Getting a literature Ph.D. will turn you into
an emotional trainwreck, not a professor’. The text describes Schuman’s
frustration at not getting a tenured position after completing her Ph.D. in
German, a frustration that, she diagnoses, stems not least from the way in
which academia has conditioned her to regard all non-academic work as
inferior. Throughout the text, Schuman laments the exploitative, damaging
environment of academia, the way in which she was ‘broken down and
reconfigured in the image of the academy’, and she concludes that this stole
her years of her life and did not set her up for any kind of reward but only
for disappointment and low-income adjunct positions. The text is organized
around Kafka’s ‘A Little Fable’, the story of a mouse that discovers that its
path is leading to a trap and, standing in front of the trap, is advised by a
cat behind it to ‘only change the direction’. She uses the fable to suggest
that her current predicament is not the result of a recent decision of hers,
but that she had understood far too late that she had been ‘walking cat
food’ all along. Surprisingly, then, turning around is exactly the advice that
Schuman presents to her intended audience of prospective and current
graduate students at the beginning and end of her essay, thus underlining
that her text, presented as a piece of advice, is actually not that.3
In its (self-)deprecating, semi-playful disdain for the humanities educa-
tion, ‘Thesis Hatement’ is representative of a larger ecosystem of texts all
denouncing going to grad school as a bad life decision and all painting
graduate education, the Ph.D. degree, and the humanities as corrosive to
a happy life. This corpus of texts can be defined narrowly, covering the
‘“don’t go” advice market’ alone (Cottom), a segment or sub-genre I will

refer to as ‘thesis hatements’ from hereon, 4 or it can be understood more
broadly, covering a larger body of texts portraying graduate education with
a particular ironic, sardonic twist and thus echoing (and propagating) the
ambivalent feelings American culture holds toward higher education and
intellectualism.5 Such texts take many different forms across various media,
often mockingly playing with clichés of what the typical graduate student
is like and often foregrounding a distinct, semi-ironic pathos of suffering.
Typically, they present graduate students as such an overdrawn spectacle of
suffering, poverty, self-exploitation, and nerdiness, that it is impossible to
not read their disdain as partly a caricature that at once invokes and mocks
a set motif of US pop-cultural lore. To name just some examples: there is
a grad student Barbie, complete with ‘black circles under her delightfully
bloodshot eyes’, there is a famous Simpsons clip where Marge admonishes
her son: ‘Bart, don’t make fun of grad students, they just made bad life
choices’, and there is the well-known series of Ph.D. comics, which was
also made into a movie.6 But there is also ‘So you Want to Get a PhD in the
Humanities’, a viral Youtube clip about a professor destroying a young grad
student’s illusions about academia, which more squarely falls into the seg-
ment of thesis hatements. The more serious of these texts, however, emanate
from a US university context, they are published in The Chronicle of Higher
Education or in Inside Higher Ed, and they address their audience with the
gesture of offering well-meaning, serious advice—advice, of course, not to
go to grad school.
Thesis hatements, those pieces of academic advice literature that tell
students not to pursue a doctoral degree, thus participate in a larger and
deeply ambivalent discourse about what it means to be a graduate student
in the humanities and about what the humanities are. As a sub-genre, they
share in how they warn students against pursuing a Ph.D. or an academic
career more generally. Most typically, this warning comes from someone
who has ‘made it’, someone who has tenure and who warns young students
that getting tenure is nearly impossible, especially now. The most famous,
most canonical of these is Thomas H. Benton’s ‘now-classic article’ (Cook
30) ‘Just Don’t Go’.7 With a tenured person explaining the impossibility of
ever getting tenure, one can immediately see how this is a dysfunctional
and in itself contradictory act of communication that sets up its audience
for a significant double-bind: it tells readers that tenure is near impossible
to get, but it suggests that knowing and ignoring this is part of getting
tenure in the end. However, there are also thesis hatements by people who
do not have tenure, who have left academia (or at least have given up the
quest for tenure) and who are now warning others to enter into it, their
bitterness, again, often complicating their message. Rebecca Schuman’s
‘Thesis Hatement’ is a representative of this type.8 In either case, already in
terms of authorship, thesis hatements are marked by a particular affective
double-bind, and this double-bind, that I will trace in the next three sections
as well, sits at the heart of how they negotiate the un/popularity of the
humanities Ph.D.
2 The Politics of Thesis Hatements
As a body of writing, thesis hatements have a political quality that resides

both inside and outside the academy: most immediately, they provide an
arena to discuss changes to the job market that are particularly poignant in
academia but that impact society at large. At the same time, they allow for
and engage in displaced conversations about class in US society, most visibly
so by discussing the relationship between income, education, habitus, and
identity. Lastly, thesis hatements are about the role of higher education in
US society, and in how they position the value of education they come with
a politics of their own that is intimately tied to the social role both of the
university as an institution and of the humanities as a particular configura-
tion of practices and knowledge. These three different sets of politics first
and foremost focus on a US cultural context, but some of their aspects travel
widely and find resonance in other national (academic) cultures, their
mobility giving evidence both of the transnational compatibility of what
it means to be an academic and of the global(ized) reach of the neoliberal
changes of the university they respond to.9 Accordingly, I will use this sec-
tion to outline these three dimensions of the politics of thesis hatements.10
First and foremost, thesis hatements are a response to a particular,
ongoing reconf iguration of the job market in US higher education. As
such, they speak of the decline of tenured, permanent positions and of
the rise of low-income, no-benefits, non-permanent teaching jobs. At the
core of each thesis hatement thus stands the realization, often positioned
as a painfully honest moment of truth-telling, that the level of education
and the intellectual capabilities of Ph.D. students will not end up giving
them a reasonable chance at a tenured position—simply because there
are fewer and fewer such positions. In this sense, thesis hatements speak of
two different, interconnected, and abusive labor markets: one, the adjunct
market that most graduate students, despite having spent years and years
on their degree, will end up working on, employed, paid, and valued far
below their qualification. Two, the economic situation of graduate students

during their studies: they delay their entrance into the job market, delay
their (potential, private sector) careers, fail to build retirement funds, and
often provide underpaid teaching labor to their university, all as part of an
investment in their own future that, due to the decline of tenure, for the vast
majority of them will never pay off.11 Read thus as part of a conversation on
the defunding of the humanities, on the reconfiguration of teaching, and
on the need for a realistic assessment of what that means for Ph.D. students,
thesis hatements serve a valid double function: they warn students of these
two abusive labor markets, and they constitute a public discourse on these
developments of the academic labor market.
In more abstract terms, however, thesis hatements are discussions of
class. More specifically, they attempt to negotiate the relationship between
income, wealth, social capital, and lifestyle/habitus, a configuration that
is particularly murky in academia.12 Thus, if William Pannapacker can
‘only recommend graduate school in the humanities—and, increasingly,
the social sciences and sciences—if you are independently wealthy’, the
particular, scandalous quality of his point to his audience lies in how it as-
sociates the humanities with a wealthy class position: doing a Ph.D., in this
perspective, is not ‘legitimated’ as a career choice by the prospect of earning
money; it is a leisure activity for the wealthy. It is not something you do to
earn more, it is something you do if you have enough money to not worry
about money at all.13 This concern about the relationship between income,
class, and education is even more pronounced in the particular imagery
Larry Cebula evokes in his advice piece not to go to grad school: he contrasts,
as two alternative roads to a fulfilled life, the (plausible, attainable) income
of ‘the manager of a Hooters’ and the (implausible, unattainable) life of a
‘happy mid-career faculty member who biked to work yesterday and met
you in her sunny office with the pictures of her European vacation on the
wall’. By setting up the contrast like this, with the barely decent Hooters
on one end and biking and European holidays on the other, Cebula makes
clear that there are two (upper-)middle class identities at stake: one based
on income, an income that is solid enough to make up for the low social
capital of operating a Hooters restaurant, and one based on habitus.14
The contrast, however, not only speaks about two different ways of
marking class that students might choose for their life, it highlights the
contradictory class configuration of being a graduate student in the first
place: in terms of social capital, work ethic, habitus, and self-image, graduate
students clearly align with an upper middle-class position (and part of this
habitus precisely is not being in it for the money). In terms of income, most
often they do not. In terms of their daily work, research and teaching, they
perform work that is highly valued, at least discursively, by society. In terms
of the income this work earns them, they do not. Set against the background
of the particularly unclear class designations in academia, thesis hatements
thus engage a doubly contradictory class discourse: society’s feelings toward
graduate students are contradictory, and the graduate students’ own situa-
tion, with the disparity between social and economic capital is, too.
Lastly, and in addition to the social issues they speak of, thesis hatements
also in themselves pursue a politics of sorts. The politics of these texts and
their circulation reside in how they individualize the social problems of
graduate education and the adjunct market, how they depoliticize the social
role of the university and the humanities, and how they thus participate
in a project of delegitimizing the humanities (in the sense in which the
humanities have claimed legitimacy since the 1970s). These politics begin
with thesis hatements’ generic move of telling students not to pursue a
degree. As Andrew Kalaidjian points out, this advice constitutes a form of
‘opting out of the conversation’, and it prevents a more ‘sustained critique
of the state of intellectual labor as a problem of modernity and a cause for
social activism in its own right’. Telling graduate students to ‘Just Don’t Go’,
in other words, foregrounds a private ‘solution’ to something that could and
should be treated as a social problem instead. Indeed, Paul Cook makes a
more fundamental point about the larger body of academic advice literature
(under which he subsumes thesis hatements) and about the disciplinary and
disciplining work it does: these texts not only ‘delegitimi[ze] the possibil-
ity of large-scale change’ (30), and they not only preempt any perspective
that imagines the university as a starting point of social change. Instead,
academic advice literature, as it is in circulation right now, ‘constructs,
constrains, narrows, and normalizes the way graduate students think of
themselves as individuals constantly in need of introspective work on
themselves in order to remain [...] employable’ (Cook 25). It ‘promotes a
„turning inward“ that has a way of deflecting attention away from social
projects that require collective action’ (Cook 25).15 There is, in other words, a
double impulse toward depoliticization here: thesis hatements tell graduate
students that their economic situation is a private, not a social problem, and
they, more generally, depoliticize the humanities/the university as a site of
introspection rather than of social change. Schuman’s ‘Thesis Hatement’,
then, as Tressie McMillan Cottom writes, may be ‘on the far right extreme of
the ‘don’t go!’ advice market, but it is indicative of what that advice entails.
It’s some combination of an assessment of the academic labor market, the
odds of getting a tenure-track appointment, the high cost of graduate
school, and the emotional toil’. It is in this particular configuration that

the depoliticizing politics of thesis hatements as a genre lie.
As a genre, thesis hatements thus not only speak about exploitative labor
markets, about the relationship between income, habitus, and class, but they
have a politics of their own, more often than not delegitimizing the study of
the humanities as neither good for one’s wallet nor for one’s self. They use
the academy as a setting in which to discuss the contradiction between how
US society values intellectual work and how it pays it, between what counts
for upper middle class and what constitutes an upper-middle-class income,
and they constitute an attempt at understanding (and regulating) what the
academy is and what the humanities are.16 While this political dimension
of thesis hatements, or of academic advice literature more generally, has
received some scholarly attention, it is substantially complicated by the
texts’ internal contradictions.
3 Metaphors and the Popularity Paradox
A particular and in the context of this essay particularly telling moment of

contradiction in Rebecca Schuman’s ‘Thesis Hatement’ is her observation
that previous similar texts had failed to convince their readers. Notably,
she is not the only one to make that observation, and there is even one text
explicitly about this aspect: Nate Kreuter’s meta-article in Inside Higher
Education, an ‘Essay on why Graduate Students Ignore Warnings about
the Job Market’.17 Kreuter argues that, by the time they enter graduate
school, students are well-conditioned to ignore warnings that a task might
be difficult. Pursuing a graduate career, to him, has much to do not simply
with over-estimating one’s own abilities (though this might be a factor),
but with overestimating the role that merit plays in academia and with
underestimating the role of luck, a point that I will come back to later.
While such explicit meta-awareness is rare, most thesis hatements do visibly
struggle to come to terms with the fact that students keep pursuing a degree
against what, in their logic, would be the students’ best interest. Rather than
using this as a vantage point to question their own logic, thesis hatements
perceive the alleged popularity of the Ph.D. degree as paradoxical and in
need of explanation. Most often, this explanation comes in the form of the
limited sets of metaphors these texts employ.
Not surprisingly, the first set of such metaphors is financial in nature.
Typically, it frames graduate school as either a form of lottery, with the
odds so insane that one should not gamble on ever getting tenure (or any
other job adequate to years and years of working on a Ph.D.), or it tries to

cast academia as a form of Ponzi scheme, an economy that works only as
long as enough gullible people keep buying in at the bottom. While the
comparison does not work out on all levels, its central allegation, of course,
is plausible enough to do the work: it takes for granted that students perceive
graduate school as an economic decision, an investment into a particular
socio-economic future. It then proceeds to shock its audience by main-
taining the larger framework—graduate school as an investment—while
simultaneously shifting a metaphor to that of ‘unreasonable’ investments,
investments that are almost guaranteed not to pay off financially. Not
surprisingly, an article in The Economist (which was published without
an author designation in the Christmas edition 2010 under the title ‘The
Disposable Academic’) puts forth the Ponzi scheme, whereas the lottery
paradigm finds use, among others, in Benton’s ‘Just Don’t Go’. In both cases,
the popularity of graduate school, its ability to attract students despite being
a bad decision financially, is cast as a cognitive mistake within a framework
of investment and return, thus validating the question of financial return
as a particularly legitimate frame of reference.
The second dominant set of metaphors pathologizes graduate school as
either a form of addiction or as a cult. In both cases, the texts note a form
of dependency, an addictive quality of academia that, much like substance
abuse or membership in a cult, leads people to disregard their normal lives,
their non-academic friends, and their self interest. If people manage to
(or try to) leave academia, they accordingly need to detox, to rediscover
a meaning in things nonacademic, to readjust their values and discover a
new sense in life. In fact, many post-academia blogs trace this particular
form of recovery. Poignant examples of this paradigm of pathology would
be Thomas H. Benton’s much-cited ‘Is Graduate School a Cult?’ published
in the Chronicle in 2004, and a blog, published anonymously, under the title
Chronicles of a Recovering Academic.18 Schuman, in her text, likens academia
to cigarettes: highly addictive, highly carcinogenic, and ultimately lethal
to almost all. When written in a first-person perspective, texts operating
within this tropical paradigm often read like autobiographical illness nar-
ratives. They tell stories of illness, of survival, and of recovery, sometimes
even offering a hint of ‘survivor guilt’.19
The third major metaphoric paradigm attempts to rationalize the presum-
ably irrational decision for graduate school by portraying it as a mistaken
decision of the heart. Operating the metaphor of a bad relationship, these
texts portray graduate students as taking all kinds of abuse—long working
hours, blows to their self-esteem, and low income (at best)—with very
little reward. Looking at the situation this way, graduate students seem to
be masochistically attracted by the bad treatment they receive from their
partner, academia. And no matter the pain, no matter the disappointment,
they keep going back. What to outsiders looks like abuse apparently seems
to them like an emotionally gratifying relationship, and this blindness to
the abusive nature is at the core of this third metaphor. As one blog post,
responding to Schuman’s article, put it: ‘We cut the same heartbreaking
figure as a woman who has become attached to a cold man, sacrificing more
and more to win his love, willfully ignoring signs of his indifference because
the alternative has become too terrifying to contemplate’ (‘In Valley and in
Plain’). Indeed, as a metaphor, love does particularly interesting work. As,
once again, William Pannapacker aka Thomas H. Benton observes, linking
‘work’ and ‘love’ is characteristic of particular sectors of the job market, and
the rhetoric of love typically ‘supports the transfer of resources from one
group to another, typically from women to men, from minority to majority’.
Love, in other words, is a highly gendered and gendering metaphor, typically
reserved for sectors that are marked by economic exploitation.20 At the
same time, it does describe a manifest and positive experience. As Benton
explains, people often stay in graduate school because they perceive the
‘so-called bohemian lifestyle’, the thrill of discovering new knowledge, the
conversations, the mentoring, and even the focus on immaterial gain as a
whiff of a good life. In fact, Benton’s piece is a particularly telling example
of the ‘ambiguous meaning’ (Pannapacker) of love, and of how the feeling
comes back even in the process of writing about it critically.
All of these metaphors are similar in that they try to explain why gradu-
ate students cannot be swayed away from academia. Implying a particular
understanding of why people should or should not pursue an academic
career, one that is rooted in individual, economic gain, they suggest that
it would be in the students’ best interest if they simply quit. Not quitting,
in this logic, is a weakness, a sign of impaired agency. In other words,
these metaphors try to resolve the presumed and presumably unjustified
popularity of the Ph.D. degree by reading graduate students as mistaken,
intellectually or emotionally, and in need of treatment, psychological or
intellectual, so that they can make a better decision for themselves. Notably,
in using (a limited set of) metaphors, these texts attempt a ‘tropical’ solution
to the problem they have as texts. Giving advice that ‘convince[s] no one’
(Schuman), struggling, in other words, with a disconnect between their
textual project and their textual effect, between denotation and pragmatics,
these texts use metaphors of mistaken self-perception to explain this very
failure.
4 The Pragmatics of Unpopularity
In this last section, I want to use a different angle to speak about this discon-
nect between thesis hatements’ textual project and their textual effect and
about the discrepancy between graduate students’ presumed unhappiness,
the presumably mistaken quality of their life decision, and the alleged
popularity of the Ph.D. in the humanities. To do so, I will look even more
closely at the discrepancy between what ‘thesis hatements’ say—’Don’t do
it’—and the effect they have—’they convince no one’. This discrepancy
between denotation and pragmatic effect, this textual schism, is crucial to
understanding the complex and contradictory affective dynamics at stake,
dynamics that inform not only this genre but also the cultural meanings
of academia as a social institution. Accordingly, I want to use the next
few paragraphs to explore moments in which these texts end up being
affirmative of the Ph.D. in the very moment in which they claim to reject it.
The f irst (self-inflicted) challenge to the argumentative effective-
ness of thesis hatements lies in the straw man nature of the argument
they set up: their graduate students are usually ridiculously naïve. In
Schuman’s text, this dynamic comes to the fore in the first paragraphs
already: ‘Who wouldn’t want a job where you only have to work f ive
hours a week, you get summers off, your whole job is reading and talking
about books, and you can never be fired? Such is the enviable life of the
tenured college literature professor, and all you have to do to get it is
earn a Ph.D. So perhaps you, literature lover, are considering pursuing
this path’. Clearly, no graduate student will actually think that this is
what a professorship is like. The effect of disillusionment, accordingly,
does not happen, because the reader does not feel addressed. Instead, the
text presents a foil of particularly naïve students that, ultimately, do not
deserve success because what they are after is a utopian illusion to begin
with. I will come back to this straw man argument below. In any case,
it marks a first instance in which the textual work of a thesis hatement
defies its presumed pragmatic purpose. If thesis hatements project such
ridiculously naïve implied readers, they cannot meaningfully convince
their actual audience and instead open up a subject position from which
to look down at such naïveté.
A similar yet slightly more complex dynamic can be traced via genre:
Schuman’s text self-identifies as ‘a jeremiad’, and many commentators agree
that this is exactly what it is. This designation draws attention to a form
of textual performance whose pragmatics has been analyzed prominently
by Perry Miller in his seminal ‘Errand into the Wilderness’. Regardless of
whether Schuman’s text is a jeremiad, strictly speaking, Miller’s observa-

tions hold for thesis hatements as much as for the jeremiad:
If you read them all through, the total effect, curiously enough, is not
at all depressing: you come to the paradoxical realization that they
do not bespeak a despairing frame of mind. There is something of a
ritualistic incantation about them; [...] in [the realm] of psychology they
are purgations of soul; they do not discourage but actually encourage
the community to persist in its heinous conduct. The exhortation to a
reformation which never materializes serves as a token payment upon
the obligation, and so liberates the debtors. (11)
For their authors and, more importantly, for their readers, thesis hatements
might indeed constitute ‘purgations of the soul’. If they ‘convince no one’,
this might be because their purpose is not to trigger actual ‘reformation’—
quitting academia, quitting the Ph.D.—but to perform a ‘token payment’
to anybody ‘outside’ of the logic of grad school. By reading, sharing, or
subscribing to thesis hatements, graduate students, in other words, might
perform a particular ritualistic, symbolic gesture that replaces action in
the real world.
Indeed, rethinking the genre affiliations of the thesis hatement helps
unlock yet another layer of how the textual pragmatics are at odds with
the denotation of the text. Thesis hatements presume to offer advice, and
they arguably fail to effectively do so. However, as Joshua Rothman points
out in an insightful article in The New Yorker, ‘advice helps people when
they are making rational decisions, and the decision to go to grad school
in English is essentially irrational. In fact, it’s representative of a whole
class of decisions that bring you face to face with the basic unknowability
and uncertainty of life’. Other texts similarly assert that one cannot know
whether this is a good decision. As Thomas H. Benton aka William Pan-
napacker confesses: ‘I realize that nothing but luck distinguishes me from
thousands of other highly-qualified Ph.D.s in the humanities who will never
have full-time academic jobs’ (Benton, ‘Is Graduate’). So, clearly, advice is
not in order, but why is it given anyway? The reason is that it constitutes
a textual performance that goes beyond the content of the advice: when
thesis hatements cast this decision, that is characterized by the frightening
‘unknowability and uncertainty of life’, in terms of rational knowability,
they reintroduce, ex negativo, rationality into the game. Even though advice
literature on the Ph.D. hardly ever gives good, rational reasons to pursue
a Ph.D., it thus reinscribes rationality, if only so that it can be discarded.
In other words, via thesis hatements graduate students are able to

understand, embrace, and affirm that their decision is ultimately not ra-
tional. About to do something that may—by normal, mainstream, popular,
economic standards—most likely be a ‘bad life decision’, graduate students
can use thesis hatements to make this ‘irrational’ decision a conscious one.
Indeed the foil of the naïve graduate student who has ridiculous ideas about
the profession, the straw man I spoke of before, feeds into this dynamic. It
allows authors and readers of thesis hatements to discursively Other these
naïve graduate students. After reading a thesis hatement, the decision to
continue pursuing a Ph.D. is not less irrational, but it is done after learning
all the rational reasons against graduate school, it is a decision whose ir-
rational nature has been accepted after rational deliberation.
Moreover, these texts that explain why something is being done against
all good reason speak strongly of intrinsic motivation precisely in reject-
ing it. Indeed, the unpopularity of the decision, by common standards,
might thus be what makes it particularly attractive. In reception and in
production, thesis hatements are stories of people doing the Ph.D. despite its
presumed drawbacks in life quality. These texts thus open up and invite into
a subject position marked by disdain for worldly and extrinsic motivation,
by practicality and by economic reasons. Again, Schuman’s text is telling
in this regard in that it juxtaposes economic and intrinsic motivation:
Don’t misunderstand me. There is unquantifiable intellectual reward

from the exploration of scholarly problems [...] even if that means doing
bat-shit analysis like using the rule of ‘false elimination’ to determine
that Josef K. is simultaneously guilty and not guilty in The Trial. But there
is one sort of reward you will never get: monetary compensation from a
stable, non-penurious position at a decent university.
In juxtaposing the ‘unquantifiable intellectual reward’ with ‘monetary

compensation’, Schuman’s text makes clear what is at stake: quantifiable
monetary compensation or unquantifiable intellectual reward, and no
matter how much the text argues for the former, it still opens up and casts as
an alternative the latter. Even if ‘unquantifiable’ here does not mean ‘big’ but
only ‘impossible to measure’, this operation creates and maintains a binary
rather than questioning whether this binary makes sense in the first place.
Ultimately, then, one central aspect of the textual work of thesis hate-
ments is how they cast the decision for academia as a decision that is
untenable by common, popular standards while they, simultaneously, open
up a ‘heroic’ subject position from which to make this unpopular decision
for an unpopular profession by upholding the notion of the unquantifi-

able reward of intrinsic motivation. Indeed, while their politics may work
to delegitimize the decision for a Ph.D. degree in the humanities, they
simultaneously provide the psychological mechanisms required to make
exactly this decision: to Other graduate students as naïve, to perform a
‘token payment’ acknowledging the irrationality of the decision, and to hope
for unquantifiable reward in exchange for it. In other words, whenever they
fail to convince, they simultaneously open up a position from which to take
pride in an unreasonable decision for an unpopular profession.
Conclusion
Thesis hatements are a troubled genre: they offer contradictory advice,

and their pragmatics are at odds with what they claim to say. Asking their
readers to do one thing while in fact encouraging them to do another, they
constitute contradictory acts of communication at best, and insincere ones
at worst. At the same time, however, thesis hatements often are honest
attempts to come to terms with a highly contradictory subject position:
that of a graduate student, and both this textual work and the contradictory
quality of this subject position become particularly visible in the metaphors
thesis hatements employ. Looking at their inner contradictions, then, is
telling: It underscores that this genre does not simply offer advice to gradu-
ate students. Instead, it wrestles with important social questions, among
them questions of class and of intellectual labor, and it works through the
complex affective dynamics and the conflicting values that determine
both an individual student’s decision to pursue a humanities Ph.D. and the
perception of the humanities in contemporary U.S. society.
Notes
1. In fact, gender also is an important dynamic in these texts, and while I do

not have time to develop a more detailed argument about the relation-
ship between (occupational) gender (cf. Hoberek 374), academia, and class
here, I will, throughout this paper, point out moments in which this subtext
becomes particularly poignant.
2. The first of the two titles is used in the <title> tag of the web page, thus
showing in the browser window only, the second, consisting of title and
subtitle, is visible as a headline on the page itself. Using two different titles
is a common SEO strategy employed by slate.com
3. This derailed metaphor indeed is telling in that it speaks of Schuman’s dif-

ficulties of coherently conceptualizing the experience of graduate school.
Assuming that, as a Kafka scholar, she does not want to use the fable simply
as a flowery version of saying ‘bad situation’, mapping the metaphor onto
graduate school is difficult: is the mouse the grad student? Is the trap the
unsuccessful quest for tenure? Does the cat correspond to private sector
employment? Ultimately, these questions seem to speak strongly about the
ambivalent desires and fears negotiated in her piece.
4. Cf. Nicholas Barber, who also refers to thesis hatements as a ‘rapidly ex-
panding sub-genre’ of essay writing.
5. The question of how to slice genre affiliations here is not easily answered.
One way to look at thesis hatements is as a ‘relatively packed genre of
recent works on the decision to go to grad school or not (which is probably
just a subgenre of bearish pieces on academia)’ (Cleveland). The larger
segment of ironically (self-)deprecating portrayals of graduate education
have a much longer tradition. Speaking even more broadly, the argument
over whether studying the humanities is a good decision might be as old as
the humanities themselves. As Anthony T. Grafton remarks: ‘To become a
trained humanist [...] is to join a tradition, which has usually been embat-
tled, while parents scream ‘No, for God’s sake go to law school!’ (That is
what Petrarch’s father said to him, thereby inaugurating a great tradition.)’
6. Cf. Piled Higher and Deeper.
7. Benton is the pseudonym of William Pannapacker; the piece was also
mentioned in the Schuman quote at the beginning of this paper. Another
typical representative is Larry Cebula’s ‘Open Letter to My Students: No, You
Cannot be a Professor.’
8. With tenure remaining an attractive perspective even for those academics
who announce having given up, thesis hatements by non-tenured authors
always smack of an attempt to scare off job market competitors. I am grate-
ful to Sascha Pöhlmann for pointing out this particular dynamic.
9. As one anecdotal case of such transnational reception: I came across Schu-
man’s piece like most of its audience must have, via Facebook. A friend of
mine, a German scholar living in California at the time, had shared it on
her Facebook wall. Reading it about six month away from finishing my own
dissertation, I immediately identified with its ethos (or: pathos) of suffer-
ing, an ethos that I was very much acquainted with and that I had learned
to embrace as well. The text also echoed my impressions at the German As-
sociation for American Studies’ Postgraduate Forum at Leipzig where a group
discussion about German academia and one’s place in it had quickly mor-
phed into something akin to a meeting of Academics Anonymous, or so it
had seemed: how else does one make sense of a room full of people speaking
of the plight of the dissertation and of the lack of a perspective for the time
after—none of them having to do it, and none of them seriously considering
to quit? For a brief mention of the ‘prekäre[n] wirtschaftlichen Situation, in
der sich der Großteil der Promovierenden befindet’ cf. the conference report
(‘Tagungsbericht’). Cf. also Bordel and Ritter, as well as the debate on the ‘aka-
demisches Prekariat’ that briefly flared in German public discourse in 2011/12.
10. This section profited greatly from discussions at the Unpopular Culture
conference. I am particularly grateful for the remarks by Barry Shank, J.
Jesse Ramirez, and Martin Lüthe.
11. Cf. Grafton for a particularly bitter phrasing of the use of graduate students as
a way to provide cheap teaching: ‘Administrators, meanwhile, began to treat
systematic underemployment as a feature, not a bug, and made of it a man-
agement tool. They realized that they could finance elementary teaching by
taking in large numbers of graduate students, keeping them at work for eight
or nine years on low pay, running sections and occasional courses, and then
spewing them forth unemployed or re-employing them as adjuncts.’ Cf. also
the attention the case of Mary Margaret received, an adjunct at Duquesne
‘who died sick, alone and penniless’ after not being able to build up retire-
ment money from her meager payment (Flaherty; cf. also ‘Reality Check’).
12. Note in this context the debate about the study of class in academia that,
Keith Gandal argues, has been hampered by the lack of poor professors. In
the complex class identities at stake, it remains unclear whether ‘facing or
anticipating economic difficulties’ constitutes enough of a ‘poor identity’
to energize ‘literary-critical poverty studies.’ The debate has recently been
energized not just by the last economic crisis but also by Walter Benn
Michaels’s 2006 The Trouble with Diversity, which opens with a discussion of
whether the difference between rich and poor people is simply a matter of
having or not having money (cf. 1–3).
13. This view, of course, plays into a concern haunting the humanities at least
since the revisionary interventions of the 1970s, the democratization of the
university, and the broadening of university access: the concern that the hu-
manities might be a class sanctuary, that their presumably universal quality
might hide mechanisms of exclusion.
14. Note, of course, the conspicuous gendering that aligns the economically
responsible decision to earn money with the (presumably) male job of the
Hooters managers and that associates the humanities with femininity, as well
as the unspoken allegation that graduate students fail to grow up; in these ar-
guments, graduate school often features as a failure to grow up into an male
adult breadwinner role, pointing at the nexus of gender, age, and economy.
15. Cf. also Tressie McMillan Cottom, who points out that the ‘blanket advice’
of thesis hatements comes from a privileged white position, and that
minority students may require the credentials of a Ph.D. (even for non-
academic jobs) to offset the negative hiring effect of their minority status.
‘Plainly put, black folks need credentials because without them our ‘ghetto’
names get our résumés trashed, our clean criminal records lose out to
whites with felony convictions, and discretion works against our type of so-
cial capital (and weak ties and closure of information) to amount to a social
reality that looks and feels a lot like statistical discrimination.’ As Kalaidjian
summarizes her point: the advice to opt out of academia ‘ignores questions
of race, gender, and class, indeed, the very social bedrock upon which the
humanities staked many of its claims in the 1960s.’
16. Cf. also Michael Bérubé’s observation that ‘the contemporary university is
so amorphous that it can be described as the research wing of the corporate
economy, the final resting place of the New Left, the last best hope for criti-
cal thinking, the engine room of global technological advance, the agent of
secularization and the advance of reason, the training ground for the labor
force, the conservatives’ strongest bastion of antifeminist education, the
progressives’ only bulwark against the New Right, the natural home of intel-
lectual isolates, the natural home of goose-stepping groupthinkers, and the
locus of postmodern skepticism and fragmentation’ (147).
17. This text, too, bears two titles. One, marked down in the html title tags, is
given above. The main title on the page reads ‘You Aren’t the Exception.’
18. Cf. also Newhouse’s ‘Deprogramming form the Academic Cult.’
19. On the sub-genre of survival guides in academic advice literature, cf. Cook.
For an example of ‘survivor guilt’, cf. Thomas H. Benton’s self-indictment
that ‘nothing but luck distinguishes me from thousands of other highly-
qualified Ph.D.’s in the humanities who will never have full-time academic
jobs’ (‘Is Graduate’), a quote I will come back to below.
20. Outside of academia, nursing comes to mind as one such sector. Note that
Pannapacker also sees this dynamic inside the academy with the humanities
on the one side and the ‘male-dominated ‘hard’ fields, such as physics or en-
gineering’ on the other. On the particular class dimension of the metaphor,
cf. also Jacqui Shine’s article on ‘Love and Other Secondhand Emotions’.
Shine argues that people from lower class backgrounds have a fundamen-
tally different understanding of what it means to ‘love’ one’s work. She thus
asks ‘whether our reliance on using love as a way to measure one’s suitability
for their work has the effect of excluding low-income and working-class
people from the academic professions. If the love question is, in fact, a kind
of gatekeeping thing—and I think it is—then we run the risk of stacking the
deck with people from middle- and upper-income backgrounds, folks who
can understand and answer the question affirmatively and who have the
luxury of ignoring the hard economic realities of the academic job market.’
Works Cited
Barber, Nicholas. ‘Grad School’s Not the Problem, You Are.’ The Huffington Post. 9 May 2013.
Web. 7 Apr. 2016.
Benton, Thomas H. ‘Graduate School in the Humanities: Just Don’t Go.’ The Chronicle of Higher
Education 30 Jan. 2009. Web. 7 Apr. 2016.
—. ‘Is Graduate School a Cult?’ The Chronicle of Higher Education 28 June 2004. Web. 7 Apr. 2016.
Bérubé, Michael. ‘The Abuses of the University.’ American Literary History 10.1 (1998): 147–63.
Web. 7 Apr. 2016.
Cebula, Larry. ‘Open Letter to My Students: No, You Cannot Be a Professor.’ Northwest History
13 Nov. 2011. Web. 7 Apr. 2016.
‘Chronicles of a Recovering Academic | …on Being a Sheep in Wolf’s Clothing. Sort Of.’ n.d.
Web. 7 Apr. 2016.
Cleveland, Grover. ‘Should You Go to Grad School? Taste the Bitterness.’ Pileus. Web. 7 Apr. 2016.
Cook, Paul. ‘Survival Guide Advice and the Spirit of Academic Entrepreneurship: Why Graduate
Students Will Never Just Take Your Word for It.’ Workplace: A Journal for Academic Labor
0.22 (2013): n. pag. Web. 27 Apr. 2016.
Cottom, Tressie McMillan. ‘Does Blanket “Don’t Go to Graduate School!” Advice Ignore Race
and Reality?’ The Chronicle of Higher Education 15 Apr. 2013. Web. 7 Apr. 2016.
‘Doctoral Degrees: The Disposable Academic.’ The Economist 16 Dec. 2010. Web. 7 Apr. 2016.
Flaherty, Colleen. ‘#iammargaretmary.’ 19 Sept. 2013. Web. 7 Apr. 2016.
Gandal, Keith. ‘Poverty Studies | Inside Higher Ed.’ Inside Higher Ed. Web. 7 Apr. 2016.
‘Graduate Student Barbie.’ Karen Zgoda. n.d. Web. 7 Apr. 2016.
Grafton, Anthony T. ‘Humanities and Inhumanities.’ The New Republic 17 Feb. 2010. Web. 7
Apr. 2016.
Hoberek, Andrew P. ‘The ‘Work’ of Science Fiction: Philip K. Dick and Occupational Masculinity
in the Post-World War II United States.’ Modern Fiction Studies 43.2 (1997): 374–404. MUSE.
Web. 7 Apr. 2016.
‘“In Valley and in Plain”: A Job Market Theodicy.’ A Christian Thing 26 Apr. 2013. Web. 7 Apr. 2016.
Kalaidjian, Andrew. ‘The Hardest Task: Work and the Modernist Novel.’ Modern Horizons (2013):
n. pag. Web. 7 Apr. 2016.
Kreuter, Nate. ‘You Aren’t the Exception.’ Inside Higher Ed 21 Nov. 2011. Web. 7 Apr. 2016.
Michaels, Walter Benn. The Trouble with Diversity: How We Learned to Love Identity and Ignore
Inequality. New York: Metropolitan, 2006. Print.
Miller, Perry. ‘Errand Into The Wilderness.’ The William and Mary Quarterly 10.1 (1953): 4-32.
Web. 7 Apr. 2016.
Newhouse, Margaret. ‘Deprogramming from the Academic Cult.’ The Chronicle of Higher Educa-
tion 9 Apr. 1999. Web. 7 Apr. 2016.
Pannapacker, William. ‘On Graduate School and “Love”’. The Chronicle of Higher Education 1
Oct. 2013. Web. 7 Apr. 2016.
Piled Higher and Deeper. Dir. Vahe Gabuchian. 2011. Film.
‘Reality Check: Knowledge Is Cheap.’ Right Scholarship 25 Sept. 2013. Web. 7 Apr. 2016.
Rothman, Joshua. ‘The Impossible Decision: On Whether or Not to Go to Graduate School’. The
New Yorker, 23 Apr. 2013. Web. 7 Apr. 2016.
Schuman, Rebecca. ‘Thesis Hatement.’ Slate 5 Apr. 2013. Web. 7 Apr. 2016.
Shine, Jacqui. ‘Love and Other Secondhand Emotions.’ Vitae | The Chronicle of Higher Education.
n.d. Web. 7 Apr. 2016.
Simpsons Funny Scene Grad Students. 2013. Web. 7 Apr. 2016. www.youtube.com/
watch?v=jsDOvBT18Sg
So You Want to Get a PhD in the Humanities. 2010. Web. 7 Apr. 2016. www.youtube.com/
watch?v=obTNwPJvOI8
Contributors
Catherine Bouko is a postdoctoral researcher and associate professor

at the Department of Information and Communication Sciences at the
Université Libre de Bruxelles (Belgium). Her works primarily concern digital
performances as well as the use of social media in order to transmit cultural
heritage. She has published the book Théâtre and réception. Le spectateur
postdramatique (2010) and edited Corps et immersion in 2012.
Martin Butler is junior professor of American literature and culture at

the University of Oldenburg. His main areas of research include the study
of popular culture, particularly focusing on the history of political music,
forms and figures of cultural mobility as well as cultures of participation
in Web 2.0 environments. Apart from a number of articles in these areas,
he has published a monograph on Woody Guthrie (Voices of the Down and
Out: The Dust Bowl Migration and the Great Depression in the Songs of Woody
Guthrie, 2007) and has co-edited an essay collection on protest songs (Da
habt Ihr es, das Argument der Straße: Kulturwissenschaftliche Studien zum
politischen Lied, 2007, with Frank Erik Pointner), Hybrid Americas: Contacts,
Contrasts, and Confluences in New World Literatures and Cultures (2008,
with Josef Raab), Sound Fabrics: Studies on the Intermedial and Institutional
Dimensions of Popular Music (2009, with Patrick Burger and Arvi Sepp),
EthniCities: Metropolitan Cultures and Ethnic Identities in the Americas (2011,
wit Jens Gurr), Pop / Wissen / Transfers: Zur Kommunikation und Explikation
populärkulturellen Wissens (2014, with Susanne Binas-Preisendörfer and
Jochen Bonz), and a special issue of Popular Music and Society on musical
autobiographies (2015, with Daniel Stein).
Jeroen de Kloet is professor of Globalisation Studies and Director of the

Amsterdam Centre for Globalisation Studies (ACGS) at the University of
Amsterdam. His work focuses on cultural globalisation, in particular in
the context of East Asia. In 2010 he published China with a Cut - Globalisa-
tion, Urban Youth and Popular Music (Amsterdam University Press). He
wrote, together with Yiu Fai Chow, Sonic Multiplicities: Hong Kong Pop
and the Global Circulation of Sound and Image (Intellect, 2013) and edited
together with Lena Scheen Spectacle and the City—Chinese Urbanities in
Art and Popular Culture (Amsterdam University Press, 2013). See also www.
jeroendekloet.nl.
332 Contributors
James Dorson is an assistant professor at the John F. Kennedy Institute for

North American Studies, Freie Universität Berlin, where he received his
doctoral degree in 2011. Among his publications are essays on the critical
reception of ‘9/11’, Cormac McCarthy and the law, Edith Wharton and emo-
tional labor, and David Foster Wallace. His research interests include critical
theory, narrative theory, the affective turn, and science and literature. His
current project deals with the relationship between American literary
naturalism and the rise of managerialism around the turn of the twentieth
century.
Dominika Ferens teaches American literature at the University of Wrocław,

Poland. Most of her research explores minority literatures through theories
of race, gender, and sexuality. In Edith and Winnifred Eaton: Chinatown
Missions and Japanese Romances (2002), she examined the paradoxes
of Orientalism in the work of two writers of Chinese-English-Canadian
descent. Her book Ways of Knowing Small Places: Intersections of American
Literature and Ethnography since the 1960s (2011) looked at literature’s quar-
rels and affinities with ethnography in the age of multiculturalism. Using
the framework of postcolonial and gender studies, she has also analyzed
the fiction of such popular American and European writers as Karl May,
Henryk Sienkiewicz, Zane Grey, and Ernest Hemingway.
Paola Ferrero holds a Ph.D. in English Language Literatures from Sapienza

University of Rome, Italy. Her research work focuses on African-American
culture, specifically music and performance, African-American women’s
literature, and American music. She is currently working on a research
project on the diaspora of African-American blues and jazz musicians in
Europe between the 1890s and the 1920s.
Bärbel Harju teaches American Studies at LMU Munich. She holds a Ph.D.
in American History (LMU, 2011). Her dissertation, Rock & Religion. Eine
Kulturgeschichte der christlichen Popmusik in den USA (Bielefeld: tran-
script, 2012), critically surveys Christian pop music in the U.S. In 2015, she
co-edited a collection of essays entitled Cultures of Privacy. Paradigms,
Transformations, Contestations (with Karsten Fitz). Her research interests
include popular culture, music, religious history, film and visual culture.
Her current research project focuses on the cultural history of privacy in
postwar America.
Contributors 333
Sebastian M. Herrmann works as assistant lecturer at American Stud-

ies Leipzig. His dissertation on Presidential Unrealities: Epistemic Panic,
Cultural Work, and the US Presidency was published in 2014, and he has
co-edited several volumes on the politics of popular culture, among them
Poetics of Politics: Textuality and Social Relevance in Contemporary American
Literature and Culture. He is also the founding head editor of aspeers, the
first and currently only graduate journal for European American studies,
a teaching and publication project on the MA level he has also chaired for
five years. He is a grantee of stipends from the Evangelisches Studienwerk
Villigst, the Fulbright Commission, and the DAAD, and he has been awarded
a Christoph Daniel Ebeling Fellowship to do research for his postdoc project
on Big Data Imaginaries in the nineteenth century.
C. Richard King, professor of Comparative Ethnic Studies at Washington

State University, has written extensively on the Native American mascot
controversy, race and popular culture, and white power. He is also the
author/editor of four books, including Team Spirits: The Native American
Mascot Controversy, a CHOICE 2001 Outstanding Academic Title, Unsettling
America: Indianness in the Contemporary World, Beyond Hate: White Power
and Popular Culture, and most recently Redskins: Insult and Brand.
Jaap Kooijman is associate professor in Media Studies and American Studies

at the University of Amsterdam. His articles on pop culture and politics
have been published in journals such as The Velvet Light Trap, The Journal of
American Culture, Post Script, GLQ, Celebrity Studies, and Thamyris, as well as
in essay collections published by New York University Press, University Press
of Mississippi, Routledge, Ashgate, Edinburgh University Press, Wallflower
Press, and University Press of Kentucky. He is the author of Fabricating the
Absolute Fake: America in Contemporary Pop Culture (Amsterdam Univer-
sity Press 2008), for which he won the 2009 ASCA Book Award. A second,
extended and revised edition was published in 2013. Kooijman is associate
editor of the European Journal of Cultural Studies and co-founding editor
of NECSUS: European Journal of Media Studies.
Elizabeth Kovach is a doctoral candidate and Publications Coordinator at

the International Graduate Centre for the Study of Culture, Giessen. Her
dissertation is entitled ‘Novel Ontologies after 9/11: The Politics of Being in
Contemporary Theory and U.S.-American Narrative Fiction’. She received
her BA in English from Barnard College, New York and her MA in Compara-
tive Literature from Ludwig-Maximilians-Universität, Munich.
334 Contributors
Susanne Leikam is assistant professor of American studies in the American

Studies Department at the University of Regensburg, Germany. In her re-
search, she focuses on visual culture studies, memory studies, disaster stud-
ies, and ecocriticism and currently works on a project located at the nexus
of environmental justice and transnational American studies. Her disserta-
tion Framing Spaces in Motion: Tracing Visualizations of Earthquakes into
Twentieth-Century San Francisco (Winter; 2015) analyzes the development
of the visual repertoires and interpretive framings of earthquakes from
early modern Europe into the twentieth-century United States. Further
publications include, among others, Iconographies of the Calamitous in
American Visual Culture (special issue of Amerikastudien/American Stud-
ies; co-edited with Ingrid Gessner; 2013), ‘“Transnational Tales” of Risk and
Coping: Californian Disaster Narratives in the Late Nineteenth and Early
Twentieth Centuries’ (Transnational American Studies, ed. Udo J. Hebel;
2012), ‘Environmental Imaginations of the California Channel Islands and
Ecological Crisis in T.C. Boyle’s When the Killing’s Done’ (Ecozon@; 2014),
and ‘Picturing High Water: The 2013 Floods in Southeastern Germany and
Colorado’ (Extreme Weather and Global Media, eds. Julia Leyda and Diane
Negra; 2015).
Martin Lüthe is assistant professor at the John-F.-Kennedy Institute for

North American Studies (FU Berlin). Lüthe published the monographs ‘We
Missed a Lot of Church, So the Music Is Our Confessional’: Rap and Religion (Lit
Verlag, 2008) and Color-Line and Crossing-Over: Motown and Performances
of Blackness in 1960s American Culture (WVT, 2011) and is currently working
on a project tentatively titled Wire Writing: Media Change in the Culture of
the Progressive Era.
Dietmar Meinel is currently working as a research assistant in American

Studies at the University of Duisburg-Essen. He has written his dissertation
as a doctoral fellow at the Graduate School of North American Studies at
the John F. Kennedy Institute (FU Berlin). Meinel published the monograph
Pixar’s America: The Reanimation of American Myths and Symbols (Palgrave
MacMillan 2016). Together with Laura Bieger he also edited Black, White
& In-Between (2008). His research interests include popular culture, visual
culture, the colonial period, and literary and cultural theory.
Sascha Pöhlmann is associate professor in American Literary History at

Ludwig-Maximilians-Universität Munich. He has published the monographs
Pynchon’s Postnational Imagination (Winter, 2010) and Future-Founding
Contributors 335
Poetry: Topographies of Beginnings from Whitman to the 21st Century

(Camden House, 2015). He is the editor of essay collections on Pynchon
and Mark Z. Danielewski as well as the co-editor of collections on places
of beginnings in Modernity (with Maha El Hissy), electoral cultures (with
Georgiana Banita), and America and the musical unconscious (with Julius
Greve). Pöhlmann is a senior co-editor of the open access journal Orbit:
Writing Around Pynchon, and he has written essays on topics such as Walt
Whitman, assassinations, queer theory, poetry and 9/11, Western films, The
Cremaster Cycle, Ludwig Wittgenstein, Don DeLillo, Sesshu Foster, Shelley
Jackson, and Black Metal.
Christian Schmidt is assistant professor for American and Intercultural

Anglophone Studies at the University of Bayreuth. In addition to his most
recent book publication, Postblack Aesthetics: The Freedom to Be Black in
Contemporary African American Fiction, he has published widely on vari-
ous aspects of postblack literature (in particular on the oeuvre of Percival
Everett). He has also published a number of essays on American country
music, most recently “Nashville—The Authentic Heart and Soul of Country
Music?” (2015) and “All Kinds of (Queer) Rednecks: The Sexual Politics of
Contemporary Country Music” (2015). Together with Jeanne Cortiel he has
co-edited a special issue for the online journal Act: Zeitschrift für Musik und
Performance entitled Sounds of the Future: Musical and Sonic Anticipation
in American Popular Culture. Currently, he is studying the (un)popularity of
Taylor Swift as a country artist and her role as the pop star of the 21st century.
Karsten Senkbeil is assistant professor at the University of Hildesheim,

teaching Cultural Studies and Intercultural Communication Studies,
particularly with a transatlantic perspective. He is the author of Ideology
in American Sports: A Corpus-Based Discourse Study (Winter, 2011). His
research interests include sports cultures around the world, intercultural
transfer processes of popular culture, and the application of cognitive and
pragmatic linguistic theories and methods to inter- and transcultural
communication.
Barry Shank is professor and chair of the Department of Comparative

Studies at Ohio State University, where he teaches courses in American stud-
ies, popular music studies, cultural theory and interdisciplinary methods.
He is the author of The Political Force of Musical Beauty (Duke University
Press, 2014), A Token of My Affection: Greeting Cards and American Business
Culture (Columbia University Press, 2004), and Dissonant Identities: The
336 Contributors
Rock ‘n’ Roll Scene in Austin, Texas (Wesleyan University Press, 1994). He is
the co-editor of The Popular Music Studies Reader (Routledge, 2005) (with
Andy Bennett and Jason Toynbee), and American Studies: A New Anthology
(Wiley/Blackwell, 2009) (with Janice Radway, Kevin Gaines and Penny Von
Eschen). He has published in such journals as American Quarterly, American
Studies, boundary 2, The Journal of Popular Music Studies, and Radical
History Review, and he has served on the editorial boards of American
Quarterly and Popular Music.
Dan Udy is a doctoral candidate in the Department of English at King’s

College London, working on a dissertation titled “Going Viral: Queer (Re)
Mediations in the YouTube Decade”. He holds a BFA in Fine Art and MSt in
the History of Art and Visual Culture from the University of Oxford, and
his research interests include Reality television, video streaming and HIV/
AIDS activist media.
Florian Zappe is assistant professor of American Studies at the Georg-

August-University Göttingen. He is the author of books on William S. Bur-
roughs (‘Control Machines’ und ‘Dispositive’—Eine foucaultsche Analyse der
Machtstrukturen im Romanwerk von William S. Burroughs zwischen 1959 und
1968, 2008) and Kathy Acker (Das Zwischen schreiben – Transgression und
avantgardistisches Erbe bei Kathy Acker, 2013) and has published essays on
a variety of topics. His research interests range widely from the theory and
history of the avant-garde, critical and ‘French’ theory, pop(ular) culture,
the history of European and American cinema (with a focus on independent
and experimental film), modern and postmodern literature to surveillance
practices and their effects on our culture.
Index
Abramovitch, Roman 269-270 Crockett, David 296
Adorno, Theodor W. 25, 32 Crowley, Aleister 132
Akon 123
Ali, Lorraine 177 Deafheaven (band) 215ff
Anal Cunt 1-3, 27, 82 Dean, Jodi 84
Anderson, Sherwood 51, 54 Deleuze, Gilles 130
Aristotle 282 Dick, Philip K. 25
Austen, Jane 26 Dickinson, Emily 24
Avengers, The (band) 36 Diederichsen, Diedrich 137, 140
Dreiser, Theodore 303
Balzac, Honoré de 83-85 Dyer, Richard 120, 252
Bayer, Jonah 207
Beaty, Bart 17 Eliot, T.S. 20
Beckham, David 277 Elsaesser, Thomas 118
Bellow, Saul 48 Emmett, Jim 45
Belot, Robert 286
Benjamin, Walter 126 Fabbri, Franco 212
Benton, Thomas H. 316, 321-322 Falwell, Jerry 175
Bergrand, Michael 216-217 Ferguson, David 36
Berlant, Lauren 85 Fiedler, Leslie 22
Berressem, Hanjo 133, 135 Fiske, John 15, 260-265
Berry, Halle 244 Fitzgerald, F. Scott 51
Bewes, Timothy 84 Flaubert, Gustave 84-85
Beyoncé 119 Fluck, Winfried 253
Bhabha, Homi 123 Fox, Aaron 151, 161
Bieber, Justin 95, 96 Fox, Pamela 161
Black Panther Party 36 Foxworthy, Jeff 155
Blink 182 27 Frank, Leo 197-199
Blodgett, Todd 192 Frank, Waldo 55
Bloom, Harold 24-25 Franklin, Benjamin 26
Boilen, Bob 235 Franzen, Jonathan 11, 81ff
Bourdieu, Pierre 15, 34, 42, 260-265 Frith, Simon 147, 171, 213
Bragg, Billy 36 Fuller, Myron 298
Brand, Stewart 36
Browning, Iben 298 Godard, Jean-Luc 250
Bunyan, Paul 301 Grant, Amy 175
Burden, Chris 135 Grey, Zane 11, 41ff
Burroughs, William S. 132 Grossberg, Lawrence 17
Bush, George W. 85ff,
Buss, Jerry 270 Halberstam, Judith 13, 147, 152
Butler, Judith 92 Hall, Stuart 17, 43, 56,
Hardt, Michael & Antonio Negri 27
Cage, John 132 Hawthorne, Nathaniel 44
Caine, Michael 244 Hayles, N. Katharine 68
Carnegie, Dale 77 Hebdidge, Dick 17
Carter, Asa 189-190, 196, 203 Hemingway, Ernest 11, 41ff
Carto, Willis A. 192 Hill, Annette 104
Casey, Valerie 279-280 Hill, Hank 169
Cebula, Larry 318 Hilton, Paris 101
Cheney, Richard Bruce 85ff, Hiltunen, Ari 282
Chesney, Kenny 148 Hoeneß, Uli 270
Ching, Barbara 149, 152, 156-157 Hopp, Dietmar 269-270
Clarke, George 207, 222 Humphries, Chris 108
Cohen, Andy 98 Hunter, John 304
Cook, Paul 319 Hurley, Chad 109
Cordova, Richard De 251 Huyssen, Andreas 129
338 Index
Iwabuchi, Koichi 117 Nancy, Jean-Luc 229

Neal, Jocelyn 150
Jackson, Janet 119 Nelson, Michael 215-216
Jagger, Mick 140 Newby, Christine (Cosey Fanni Tutti) 133
Jameson, Frederic 21 Norman, Larry 172
Jenner, Kris 109 Norris, Chuck 241, 245
Jensen, Joli 157
Jones, Charles Jesse 45 Ogden, William 300
Jones, Janet 104
Jones, Tommy Lee 244 P-Orridge, Genesis (Breyer) 129ff
Joyce, James 21-22 Page, Wade Michael 187
Jung, Eun-Young 114, 116 Paisley, Brad 155ff
Pannapacker, William 313ff
Kahn-Harris, Keith 213-214 Park, Jin-Young 113, 120
Kalaidjian, Andrew 319 Perkins, Maxwell 51-53
Kaltmeier, Olaf 34-35, 37-38 Pernin, Peter 301
Käng, Dredge Byung’chu 122 Perry, Grayson 36
Kardashian, Kim 108 Petra (band) 175-176
Kheshti, Roshy 231 Phagan, Mary 197ff
King, Stephen 24 Pierce, William 192
Kipling, Rudyard 25 Poe, Edgar Allen 24
Knickelbine, Scott 305 Prokhorov, Mikhail 269
Krassner, Paul 36 PSY (rapper) 113, 114, 116-117, 125
Kreuter, Nate 320 Putnam, Seth 7, 8
Kristeva, Julia 12, 131-132 Pynchon, Thomas 26-27
Pyne, Steven J. 300, 303, 306
Lambert, Miranda 153ff
Lasch, Christopher 73-75 Rancière, Jacques 11, 82ff, 229
Lipez, Zachary 236 Rain (Bi) 113ff
LL Cool J 162-163 Real Housewives, The (and cast members) 95ff
Loeb, Harold 51, 55 Redhead, Steven 19
Lunch, Lydia 36 Reed, Lou 7
Lundgren, Dolph 241 Reynolds, Simon 114
Richards, Kim 101
Maase, Kaspar 35 Richards, Kyle 101, 105
MacFarlane, James 298 Riesman, David 63-67, 69, 74
Maffesoli, Michel 15, 260-262, 269 Rollins, Henry 36
Mann, Geoff 161 Roosevelt, Theodore 42
Markson, David 24 Ross, Andrew 16-17,
Max, D.T. 68 Ross, Diana 113, 125
Mayer, Jane 11, 81ff Rothmann, Joshua 313, 324
Mayer, John 202-203 Rotten, Johnny 36
McCaffery, Larry 62, 67 Rozario, Kevin 291
McCain, John 71 Rucker, Darius 157ff
McClure, Michael 36 Russell, Kurt 244
McConnell, Brian 281
McMillan Cottom, Tressie 319 Salinger, J.D. 70
Melville, Herman 24 Sarris, Andrew 245
Middleton, Richard 212 Sawislak, Karen 302, 303
Miku, Hatsune 125 Schumann, Rebecca 313ff
Miller, Perry 323 Schwarzenegger, Arnold 241, 245, 249
Mitchell, Lee Clark 42, 46 Seagal, Steven 14, 241ff
Mittell, Jason 105 Seger, Linda 281
Monroe, Marilyn 247 Sex Pistols 27
Moore, Robert Laurence 170 Shakespeare, William 24
Mouffe, Chantal 229 Shelton, Blake 148
Shim, Doobo 115
Index 339
Shin, Hyunjoon 114 Truffaut, Francois 245

Slotkin, Richard 46 Twain, Mark 26
Smith, Carl 303
Smith, Patti 130 Underwood, Carrie 148
Smith, Zadie 61
Spahr, Juliana 11, 81ff Valencius, Conevery 295
Stallone, Sylvester 241, 245, 249 Van Damme, Jean-Claude 241, 245
Stefani, Gino 212 Veyrat-Masson, Isabelle 280
Steinbrenner, George 270 Vivien, Léon 15, 277ff
Stevenson, Robert Louis 44
Storey, John 33, 150, 241-242 Wade, Jason 178
Stosuy, Brandon 217-218 Wallace, David Foster 11, 61ff
Swift, Taylor 148 Wallee, Alf F. 46
West, Kanye 109
Taylor, Steve 174 Whitman, Walt 24
Thies, Sebastian 34-35, 37-38 Wierviorka, Anne 280
Thoreau, Henry David 22-23 Williams, Raymond 230, 242
Thornton, Sarah 213 Willis, Bruce 241, 245, 250
Tinariwen 14, 230ff Winfrey, Oprah 89
Tompkins, Jane 44, 45 Wister, Owen 42, 45-7, 51
Tragaki, Dafni 36 Wonder Gay 122ff
Traube, Elisabeth 43 Wonder Girls 12, 113ff

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15 mm 15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm

This collection includes eighteen essays that introduce the concept of

Lüthe and Pöhlmann (eds)

Martin Lüthe is an associate professor in North American Cultural Studies

Martin Lüthe and Sascha Pöhlmann (eds)

The ‘televisual’ names a media culture generally in which television’s multiple

Martin Lüthe & Sascha Pöhlmann (eds)

Amsterdam University Press

isbn 978 90 8964 966 9

© The authors / Amsterdam University Press B.V., Amsterdam 2016

Why We Talk the Talk We Talk 31

How (Not) to Make People Like You 61

Secrets, Lies and The Real Housewives 95

Karaoke Americanism Gangnam Style 113

‘When order is lost, time spits’ 129

‘Famous in a Small Town’ 147

Listening to Bad Music 187

Hipster Black Metal? 207

Unpopular Culture and the American Reception of Tinariwen 229

Cultural Studies and the Un/Popular 241

Unpopular Sport Teams and the Social Psychology of ‘Anti-Fans’ 259

Popular, Unpopular 277

Unpopular American Natural Calamitiesand the Selectivity of

The Unpopular Profession? 313

Martin Lüthe & Sascha Pöhlmann

transgression in a transgressive discourse.1 True to form, Anal Cunt refused

more theoretically, sometimes with regard to particular artifacts that can be

Un/Popular, and Benefits of Distinction—Some Auto-Ethnographical Re-

country music, a genre that is both commercially successful and, at the

Deafheaven’s Sunbather and the Evolution of an (Un)popular Genre’.

Karsten Senkbeil utilizes the prism of the unpopular to examine sports in

In ‘The Unpopular Profession? Graduate Studies in the Humanities and

While these considerations of unpopular culture are certainly original in

[w]hile it speaks enthusiastically to the feelings, desires, aspirations,

experts in culture whose traditional business is to define what is popular

Unpopular culture, then, can be imagined as the disputed territory between

1) Popularity is commercial popularity, i.e. measured according to sales.

product is popular if a sufficient number of people like it, and it is

Other categories of popularity and unpopularity can, of course, be found,

by considering what is deviant, abject, offensive, and marginalized, but

was printed in different editions to suit different tastes and wallets, 2

As Thoreau was reminded of his unpopularity as a writer, he reinscribes

Nevertheless, in spite of this result, sitting beside the inert mass of my

Thoreau’s example indicates that unpopular culture is always related to

Under certain circumstances failing, losing, forgetting, unmaking,

As a contemporary countermodel to the Thoreau that professed to em-

exceptional when it comes to prejudice against the popular. (Just think of

argues that, ‘without embracing consumer culture wholeheartedly, the

Moreover, after some closer inspection of the situations I had in mind,

might thus complicate matters in a productive way, if we ask, as Lüthe and

rules and regulations. Acknowledging this processual quality (i.e. the

a form of capital that merges together aspects of Bourdieu’s concepts

‘Contrary to economic capital,’ they eventually conclude, ‘identitarian

The founder of the IFUC, David Ferguson, produced, managed, and

‘hermeneutics of the other’ (high culture, popular culture) to continuously

field, such as me and my daughter, as ‘networks of dispositions’ rather than

1. Whenever I use ‘we’ in this essay, I refer to an implied readership that I

SCRAM Magazine: A Journal of Unpopular Culture. Web. 7 Apr. 2016.

While Hemingway requires no biographical introductions, few contem-

Why We Talk the Talk We Talk 31

How (Not) to Make People Like You 61

Secrets, Lies and The Real Housewives 95

Karaoke Americanism Gangnam Style 113

‘When order is lost, time spits’ 129

‘Famous in a Small Town’ 147

Listening to Bad Music 187

Hipster Black Metal? 207

Unpopular Culture and the American Reception of Tinariwen 229

Cultural Studies and the Un/Popular 241

Unpopular Sport Teams and the Social Psychology of ‘Anti-Fans’ 259

Popular, Unpopular 277

The Unpopular Profession? 313