Five Finger Death Punch: A Case Study in Performative Working Class Aesthetics

By Matt Nguyen-Ngo

A common sentiment on the left is that many American working-class whites, largely made up of reactionaries, undermine their own best interests by adopting right-wing politics. It’s not hard to determine why; through its influence over American culture and education over the course of history, the owner class has managed to redefine “capitalism as freedom” and “socialism as slavery.” Of course, determining the “how” is just as important as determining the “why.” This article seeks to uncover the methods by which the owner class manipulates culture and aesthetics to reinforce capitalist ideology in the American white working class, using the metal band Five Finger Death Punch as a case study.

What is Class?

With the language of class struggle becoming increasingly relevant in the political landscape of the United States, it becomes necessary to clarify the delineations between socioeconomic classes. The dominant concept of class in the US is the liberal one, which bases class distinctions largely on income level. This concept divides people into lower, middle, and upper income classes. If we are to define class in this way, then what are the cutoff points that differentiate these three classes from each other? At what amount of annual income would someone transition from “lower” to “middle” class in this framework? Any answer to this question is by definition arbitrary. On the other hand, in the context of class struggle described by Marx as the conflict between opposing economic interests of the bourgeoisie (owner class) and the proletariat (working class)[1], it makes infinitely more sense to construct class lines based not on one’s fluid income level, but instead on one’s concrete relationship to capital. This article rejects the liberal class framework in favor of the Marxian.

However, regardless of which economic measurements we base our class delineations upon, these lines won’t always match up with class identity as perceived by the general public. In any given culture, an individual’s class is perceived according to their aesthetic choices, such as clothing, speech, activities and affiliations. In the modern US, a “lower class” or “working class” person might wear camouflaged cargo pants and a sports jersey, or a tradesman’s uniform when on the job. A “middle class” or “upper class” person might wear slacks and a button-up shirt, or a business suit and watch instead. In late Victorian England, a politician might wear a frock coat and top hat to convey their sophistication to voters, or a tweed suit and cloth cap to break social conventions and show commonality with the average citizen.[2] Regardless of cultural context, class identification is a performance.

In the United States there is a recurring phenomenon where members of the owner class perform as members of the working class by adopting working-class aesthetics. This can take the form of politicians like Lindsey Graham wearing a cowboy hat to evoke the ranchers of the “Old West,” or New York real estate investor and US President Donald Trump using laypeople’s language to appeal to the rural white working class. It can take the form of wealthy capitalists electing to drive luxury pickup trucks that are never taken off a paved road, instead of a high-end sedan or exotic sports car. And, more salient to the subject of this article, it can take the form of a heavy metal band like Five Finger Death Punch – made up of reactionary capitalists – wearing the cultural markers of the American working class to relate to them as a fanbase. Like all aesthetic choices made by all people, these are all deliberate performances of group identity: in this case, a working-class identity that does not line up with material (economic) reality. By superficially identifying themselves with the working class, the “everyman,” these capitalists perform working-class aesthetics to create a false sense of solidarity with the proletariat, reinforcing the dominant ideology that grants them their power and influence.

Working-Class Performance

One of the most elucidating examples of this phenomenon, which I call “working-class performance,” is the work of celebrity Mike Rowe, made famous by his reality television show Dirty Jobs. As the host of Dirty Jobs, Rowe travels to different businesses around the United States putting himself in the shoes of their employees. He performs these unpleasant, menial jobs as a spectacle for more advantaged viewers to vicariously experience the struggles of the less fortunate. In one episode of Dirty Jobs, Rowe visits a pig farm in Las Vegas that turns food waste into slop to feed the pigs. Despite claiming to showcase the experiences of the “everyman,” the star of the show (other than Rowe himself) is the farm’s owner Robert Combs, who walks Rowe through the slop production process. Combs mentions an employee by name – a man named Jose – but no employees are ever shown on screen. This is a recurring theme in Dirty Jobs and other reality television shows like it. While they supposedly celebrate the working class as essential people who do the jobs “we” are unwilling to do, they actually “push the human beings whose labor they nominally valorize to the margins,” opting instead to tell the stories of capitalists through a “ventriloquized working class.”[3]

Despite his portrayal as an “everyman,” Mike Rowe has a net worth of $30 million largely made from television and being a company spokesman, appearing in high-profile advertisements for automobile and pharmaceutical companies.[4] In his advertisements for Ford’s F-150 pickup truck, Rowe (who has no real-life construction or automobile expertise) appears on a construction site amongst a backdrop of workers on the job, explaining why the F-150 is superior to other trucks and the working class viewer should buy it over the competition.[5] In other words, Rowe uses this working-class performance to sell you something.

So too does Five Finger Death Punch. Like Rowe, Five Finger Death Punch uses working-class performance to sell their audience something. This “something” can be music, concert tickets and merchandise of course, but I am referring to something more intangible. One of the most commercially successful American metal bands in the 21st Century, Five Finger Death Punch has carefully crafted their brand to appeal to millions of common Americans, predominantly conservative, white, working-class men. In this case study, I will deconstruct the band’s hyper-American “everyman” image to demonstrate how they sell the promise of the “American Dream,” ultimately serving the interests of capital. It is my hope that this will help illuminate the impact of working-class performance on American class relations and class consciousness.

Who is Five Finger Death Punch?

Five Finger Death Punch, or “5FDP,” is an American metal band based in Las Vegas, Nevada that hails from the groove metal, thrash, and arena rock traditions of bands like Pantera, Metallica, and W.A.S.P. With albums like 2009’s War is the Answer and 2011’s American Capitalist, 5FDP has deliberately created a provocative, hyper-American, hyper-capitalist image. In the words of their rhythm guitarist and marketing mastermind Zoltan Bathory:

“We [the band] like to press buttons. When everyone was on the streets with signs saying ‘war is not the answer,’ [in reference to the war in Iraq] we released War is the Answer. When Occupy Wall Street was going on and socialism was growing in America, we brought out American Capitalist. That’s all intentional.”[6]

Despite their exaggerated all-American image in the most stereotypical sense of the phrase, many of their members are immigrants – including Bathory. Bathory immigrated to the US from Hungary shortly after the fall of the Soviet Union, and loves to tell stories of how he arrived in the States with “a bag of clothes, a guitar, and a few bucks in my pocket,” with no English skills.[7] His is a familiar, tired story of dragging himself by his own bootstraps out of “grey communist squalor” to seize his own emancipation in “the freest and fairest political and economic system” of American free-market capitalism, enabling him to live a life of “unchecked excesses.”[8] It is a story that has been told time and time again by the families of exiled Cuban slaveowners and the like. It is a story that affirms the belief that the US is a golden place of unlimited opportunity for social mobility, and purports that those who do not get ahead are merely lazy and unworthy of success. After all, the story goes, if an immigrant like Bathory could do it, why can’t you? In addition to Bathory, the band’s longtime lead guitarist Jason Hook is Canadian, and Hook’s replacement Andy James hails from Norfolk, UK.

Of course, I do not deny that immigrants belong to their new countries just as much as the native born. However, why this exaggerated display of American uber-patriotism from a band that is 40% foreign-born? Speaking from personal experience as a member of the Vietnamese-American diaspora, I know that immigrants and/or minorities often perform exaggerated “Americanness” to fit in, to prove that one “belongs” in the country. Additionally, Bathory’s life story – no doubt curated for the metal news interviews – is the perfect origin story for a band that promotes “bootstraps” ideology and American jingoism so zealously.

Unsurprisingly, the band aggressively advocates for the US military and law enforcement. They believe these groups are exploited and underappreciated by an ungrateful public and unscrupulous government. This message is succinctly captured in the lyrics to “No One Gets Left Behind.”

Politicians banking in their greed

No idea on how to be all they can be

…

Play your war games with other people’s lives

It should be you on the front line

In another interview, Zoltan Bathory shows his disdain for how the public treats US soldiers, in his view.

“They’re [the soldiers] merely just doing their jobs… just like when the guys came back from Vietnam [after the end of the US-Vietnam War in 1975], they had to put up with all kinds of shit [from citizens].”[9]

Setting aside Bathory’s comments about public treatment of soldiers returning from Vietnam (which was hardly universal), and setting aside the American atrocities that would have provoked such animosity, 5FDP’s narrative that US soldiers are exploited is correct to a certain extent. US soldiers, often working-class men with limited economic options, are indeed sent to die by social elites who benefit from war. But 5FDP’s analysis is missing one critical element: the reason these elites are sending these soldiers to die. Politicians do not merely send soldiers to war for some nebulous, aimless greed. What are these politicians greedy for? Perhaps we can find our answer by asking the military arms and logistics companies that profit from American imperialism, and their political partners in Washington like Dick Cheney, former US Vice President and CEO of defense contractor Halliburton.[10] Indeed, despite seeming to rail against war profiteering in “No One Gets Left Behind,” 5FDP’s very next album is the aforementioned War is the Answer, which conveys the exact opposite message.

Despite their message that clearly advances the interests of capital, Five Finger Death Punch presents themselves as the quintessential American working-class band. Their image and music speak to the people who are often pejoratively labeled “rednecks”: the white, predominantly rural American working class.

Take, for example, their music video for “The Pride” off of American Capitalist, a list-form song that namedrops companies like Facebook and Coca Cola, in which vocalist Ivan Moody proclaims the band is “not selling out,” but “buying in.”[11] Moody is presumably “buying in” to capitalism itself, not just the specific companies he names in the song. The music video depicts the band playing in front of a wall of television screens, flashing an endless stream of advertisements that light up the stage. The band members all wear NASCAR-style jerseys proudly emblazoned with the logos of corporate sponsors. It is important to pay attention to the stylistic choices being made here, as well as the specific companies 5FDP chooses to advertise. NASCAR, or The National Association for Stock Car Auto Racing, is an auto sports organization that is commonly associated with American working-class whites. The companies flashing on the television screens include Monster Energy and Fox Racing, both brands with similar associations. This melding of working-class aesthetics with the valorization of capital jives will with the band’s political philosophy, which contends that its own commercial success is proof that capitalism provides freedom and prosperity. This image is crucial to the band’s success; if they were to simply sing songs praising capitalism and the military without adopting this “everyman” aesthetic, it’s doubtful their audience would relate to their music so powerfully.

Five Finger Death Punch’s Central Message

We can synthesize all that was previously discussed into one concise sentence: Five Finger Death Punch’s central narrative is that they – the band – started out just like you – the audience – so if they were able to achieve fame and fortune in the capitalist system, you can too. True American Capitalists, 5FDP is selling the “American Dream” itself.

This is nothing new in marketing. Take, for example, this 1990 advertisement for a perfume named Heaven Sent, depicting the fragrance user bathing in celebrity status, coddled by servers and paparazzi as she steps out of a limousine onto the red carpet.[12]

The woman is the winner of a sweepstakes in which the grand prize is a one-day celebrity experience. Instead of merely selling fragrance, the perfume company is quite literally selling upward mobility.[13] It is useful to note that this advertisement was published well after the “Great U-Turn” in the mid-1970’s which saw a dramatic increase in wealth inequality and decrease in social mobility that continues to this day.[14]

Like the Heaven Sent perfume advertisement, Five Finger Death Punch’s “The Pride” is selling the promise of upward mobility to their working-class audience in the only way that seems attainable in the modern age: celebrity status. By “buying in” to the American capitalist system, so the band promises, you too can live large like Five Finger Death Punch: the monster truck driving, Monster Energy chugging guys you can rock out with now, and have a beer with later.

This narrative is, of course, inaccurate. Like I previously discussed, the band’s beloved American capitalism does not provide the freedom and opportunity that they claim it does. If “social mobility” ever even existed at all for the vast majority of people, the “Great U-Turn” killed it a long time ago. This is to say nothing of the economic exploitation inherent to the owner-worker relationship that defines capitalism, as described in Marx’s Capital.[15] Additionally, while 5FDP is right to mistrust the US government, they do so for the wrong reasons. The US government sends soldiers to die in war on behalf of the capitalists that 5FDP spends so much time praising. Regardless of whether or not the band intends to do so, or is even aware that they’re doing it, 5FDP’s message ultimately serves the interests of capital and sows false consciousness among the working class.

Alternative Narratives

Since Five Finger Death Punch’s music appeals to so-called “rednecks,” it may be prudent to examine the origins of that word. The term “redneck” was coined to describe white coal miners during the West Virginia Mine War, who wore red bandanas around their necks to show their allegiance to the miners’ union.[16]

The West Virginia Mine War was an armed conflict that took place in the early 1920’s between striking miners and the mine “operators” (companies) that exploited their labor in the Appalachian coal mines, and controlled every aspect of their lives in the company towns. After the miners in the independent town of Matewan unionized, the coal companies retaliated by sending in the Baldwin-Felts, private mercenaries that violently cracked down on the strikers. The miners took up arms against these corporate mercenaries, culminating in the Battle of Blair Mountain. The miners called upon the US Federal Government for assistance, but were unpleasantly surprised when the federal troops took the companies’ side instead. It is an oft-forgotten, but crucial piece of American working class history that demonstrates how the state works on behalf of capital – not against it.[17]

So, the rural white working class indeed has a history of resisting oppression and authoritarianism. But it is not the nebulous, aimless authoritarianism that Five Finger Death Punch describes in their music video “Living the Dream,” which argues that mask mandates during the COVID-19 pandemic are a slippery slope to tyranny.[18] It is actually capitalist authoritarianism, and government oppression on behalf of capital. Five Finger Death Punch’s narrative is a distortion of history that was expertly crafted by the capitalists before them, making the working class complicit in its own subjugation.

Conclusion

If socialists are to create class consciousness among American working-class whites, it is necessary to understand why their false consciousness exists in the first place so that it may be counteracted. By understanding Five Finger Death Punch’s working-class performance, we can understand the forces at play that sow false consciousness among the American proletariat. By advancing narratives that, using white working-class history, contradict 5FDP’s capital-serving message, we can obstruct the flow of false consciousness and promote true class consciousness for all working people.

Notes

[1] Karl Marx and Friedrich Engels, The Communist Manifesto, 1848.

[2] Marcus Morris, “Class, Performance and Socialist Politics: The Political Campaigns of Early Labour Leaders,” in Politics, Performance and Popular Culture, edited by Peter Yeandle, Katherine Newey and Jeffrey Richards, Manchester: Manchester University Press, 2016, pp. 259-275

[3] Gabriel Winant, “Dirty Jobs, Done Dirt Cheap: Working in Reality Television,” New Labor Forum 23, no. 3 (Fall 2014): pp. 66-71.

[4] Celebrity Net Worth, “Mike Rowe Net Worth.” https://www.celebritynetworth.com/richest-celebrities/actors/mike-rowe-net-worth/

[5] https://youtu.be/mDQpo23vfLw

[6] Zoltan Bathory, “When I Say That Nothing is Impossible, I Truly Believe It,” interview by Sam Law, Kerrang Magazine, March 30th, 2020.

[7] Ibid.

[8] Ibid.

[9] Zoltan Bathory, “Interview: Five Finger Death Punch – Zoltan Bathory; Oslo, 2011,” interview by Guest, Musicalypse, January 10th, 2011.

[10] Jonathan Turley, “Big Money Behind War: The Military-Industrial Complex,” Al Jazeera, Jan 11th 2014. https://www.aljazeera.com/opinions/2014/1/11/big-money-behind-war-the-military-industrial-complex/

[11] Five Finger Death Punch, “The Pride.” https://youtu.be/zuQGx1H1Qh8

[12] Erika L. Paulson and Thomas C. O’Guinn, “Working-Class Cast: Images of the Working Class in Advertising,” The Annals of the American Academy of Political and Social Science 644 (Nov 2012): pp. 50-69.

[13] Ibid.

[14] Bennett Harrison and Barry Bluestone, The Great U-Turn: Corporate Restructuring and the Polarizing of America, New York, NY: Basic Books, 1988.

[15] Karl Marx, “Part Three: The Production of Absolute Surplus Value,” Capital: Volume 1, 1867.

[16] Wilma Lee Steele, “Do You Know Where the Word ‘Redneck’ Comes From? Mine Wars Museum Opens, Revives Lost Labor History,” interview by Roxy Todd, Inside Appalachia, West Virginia Public Broadcasting, May 18th, 2015.

[17] Brandon Nida, “Demystifying the Hidden Hand: Capital and the State at Blair Mountain,” Historical Archaeology 47, no. 3 (2013): pp. 52-68.

[18] Five Finger Death Punch, “Living the Dream.” https://youtu.be/eOkkWIOkWl8