Em/Skeevs/No context

Burning Angel: the Movie (2005)

Say you’re a diehard My Chemical Romance fan in 2005—if you really want to watch your favorite band discuss their porn-viewing habits, you’ll have to travel to either your local adult entertainment store or go to the hardcore porn site BurningAngel.com and order their first DVD, appropriately titled Burning Angel: The Movie. Once you have the disc, you’ll have to fast forward through several sex scenes and interviews with other bands before you arrive at what you wanted: the actress who you’ve just seen in hardcore sex scenes asking Gerard, Frank, Mikey and Otter questions about their preferences in adult entertainment.

The DVD was Burning Angel’s first attempt at more professional pornography, and Joanna’s first foray into full participation in filmed, live-action sex. Joanna Angel would later go on to be one of the most well-known porn stars of our time—in Virgin Territory (2006), for example, she played a lemon stealing whore; you might have seen the video—and Burning Angel would be credited with the popularization of the “alt” porn genre, which broke from the exploitative mainstream porn model and typically featured models representative of subcultures.

But in 2005 her alt porn empire was still in its infancy, and Joanna was still struggling to rectify her recent full expulsion from the local New Jersey hardcore social scene with her enduring devotion to DIY values—and the fact that members of the sexually repressed subculture that had ostracized Joanna were her site’s target audience.

Joanna Angel on the Scene

Any thoughts of a future career in adult entertainment and the last name Angel were far from her mind when Joanna Mostov enrolled in Rutgers University in 1998. 

Though she often pushed back against the wishes of her religious orthodox Jewish family, the extent of her adolescent rebellion had ended at sneaking out to punk shows and getting piercings her mother wouldn’t approve of. At Rutgers, Joanna quickly became enmeshed in the New Brunswick hardcore scene, putting her in the same circles as a host of people whose names you might recognize: Geoff Rickly of Thursday (who ran hundreds of shows out of his basement), Gabe Saporta of Midtown and Cobra Starship, and Alex Saavedra of Eyeball Records. 

Geoff Rickly: Well, you know, the funny thing is that, at the time, Joanna, who would later go on to form Burning Angel and become a famous porn star in her own right, was playing in her goth bands with chelsea haircuts and the basement shows. Like, her local goth band would play. And they’d bring out people and stuff, and I’d put touring bands on that show, and so it’s funny to me how, weirdly, DIY punk hardcore scenes and porn had weird associations then. [source: Going Off Track: Geoff Rickly, 2012]

The NJ hardcore scene was close-knit enough that while she only has documented friendships with some of these people, she had to have crossed paths with most of them multiple times (for example, Joanna was at the show on December 31, 1998 where Thursday and Midtown played their first real sets). She went to every show she could and hosted some in her own basement. 

While we don’t necessarily have a written record of her friendship with Frank Iero and Mikey Way of My Chemical Romance, the fact that Joanna attended plenty of shows in the North Jersey area and also spent a lot of time at the Eyeball House (Alex was a close friend; and Pencey Prep was on his label) suggests that, at the the very least, Joanna, Frank, and Mikey were aware of each other’s presence in these early years. They were peers in the same scene, just as they were with everyone else who frequented the same venues or played in the same basements.

For years, the hardcore scene mattered to her more than anything else; it was her social life and what she based her values upon. 

Those hardcore values and a growing curiosity about her own sexuality lead Joanna to sex-positive feminist activism and a writing internship with Nerve.com, an online magazine which explored topics related to sex and romantic relationships. From there, her interest in expressing her own sexuality continued to develop.

[Suicidegirls in 2001]

So, in 2002, when her roommate and friend asked her if she wanted to start a porn site that offered more explicit content than sites like SuicideGirls, which featured punk aesthetics and band interviews but stayed away from anything more than simple nudity, Joanna agreed.

BurningAngel.com went live in April 2002. It wanted to do things differently than other porn sites. While not necessarily pushing the boundaries of beauty standards, the site used models who were beautiful but in a more approachable, average sense. Joanna has said that since she had little experience even watching porn prior to starting the site, she wanted the site to mimic the kind of sex she was having with actors who looked like the people she was having sex with. 

Joanna: When we started the website, it was a reflection of ourselves. It still is to this day. There's band interviews on the website, the style of girl that we use is not your average typical porn star and the personality on the website is a little bit different. All the members interact with each other, all of the girls have blogs and profiles, and people become friends with each other. It's more of a community and a reflection of a subculture rather than just being a website with content to jerk-off to and never think about again. [source: Complex: Interview: Joanna Angel Talks Alt Porn, Piracy, And Her Blow-Up Doll, 2011] 

[Burning Angel’s homepage in June 2002]

Hardcore Punk Reacts to Hardcore Porn 

Her longtime involvement in the scene and her application of DIY ethics to her porn business did not mean that the hardcore culture actively nurtured Joanna Angel’s career in porn. In reality, many parts of the scene were actively hostile towards Joanna and the site once Burning Angel went live.

This backlash isn’t incredibly surprising within the context of late 90s hardcore, a subculture that by and large refused to acknowledge sexuality of any kind. 

The sexual repression in hardcore reflected several different aspects of its culture: a negative perception of women active in the scene; a reaction against the violence of tristate hardcore in the early 90s; and, more than anything else, the general privilege of those involved in the underground.

Like Joanna, Geoff Rickly, and Frank Iero, most people involved in New Brunswick hardcore were enrolled at Rutgers, and white, middle-class male college students dominated the scene. For many of them, applying DIY values to their own lives meant distancing themselves from their socioeconomic upper-hand. Consequently, the scene as a whole developed an attitude of asceticism, rejecting anything that served no purpose beyond pleasure or personal enjoyment. (Of course, it was easy for them to reject their social privileges, especially when they could just as easily cast off their aesthetic of poverty and self-denial for an adulthood of relative comfort.)

To do anything just because you enjoyed it, or because it brought you happiness in the moment, was seen to be a betrayal of hardcore’s higher intellectual goals—and that included sex. You can see this trend, for example, in lyrics from NJ hardcore bands, which focused on things like political issues or childhood traumas instead of the common themes of sexual and romantic desire found in mainstream music.

Joanna spoke about finding comfort in the general sexual repression of the scene because of her own adolescent insecurities:

Joanna: Me being very sexually not advanced and insecure, [90s hardcore] was the perfect place for me, because I could ignore [sexuality]. I was getting older, I don’t know, I wanted to explore myself more. So I began to write these graphic sex stories. My roommate, Mitch, knew about it, and I remember him getting a kick out of it. [source: Turned Out A Punk #127: Joanna Angel (Burning Angel)]

For another salient example, Geoff Rickly of Thursday has spoken about his own struggles with the hardcore scene’s repression, especially in regards to the shame he felt about writing sexually explicit stories for pay:

Geoff Rickly: You have to think, this is the 90s punk scene. It's not now. Nobody would openly talk about sex in DIY punk. It was such a repressed PC time, where — I mean, a lot of that stuff is my heart, like the political activism that was still such a part of punk, and actually just giving a shit about things that matter, and modes of how you're doing what you're doing. Those things seemed to matter back then, and I appreciated that side, but it was also so uptight. So repressed. [source: Going Off Track: Geoff Rickly, 2012]

While its general aversion to sexuality might have been born out of an initial desire to reform the violent misogyny of other hardcore cultures, it created the conditions for certain social problems to go completely unaddressed. After all, how can you address the rampant misogyny, homophobia, and sexual violence in your community if any acknowledgement of sexuality is taboo?

(For a brief but interesting perspective on the impact of hardcore sexual repression upon queer people in the scene, check out Episode #4 of Geoff Rickly’s podcast Dark Blue, in which Steve Pedulla and Norman Brannon discuss their experiences as gay musicians in the scene.)

Of course, these issues aren’t confined to the New Jersey hardcore, nor were they unique to the late 1990s. This particular brand of sex-averse misogyny reflects important threads within the feminism of the time which villainized open female sexuality—especially when it concerned sex work. Left-leaning spaces like music undergrounds adopted this sex-negative, misogynistic attitude as a part of their feminism—not in opposition to it.

In particular, the Riot Grrrl movement of the late 80s/early 90s pushed back against a culture (and a subculture) that shamed women for publicly expressing their sexuality. Following that, early fanzines and performance practices addressed the mistreatment of sex workers in hardcore as one way that female bodily autonomy was limited and women’s bodies were policed. Bikini Kill frontwoman and Riot Grrrl pioneer Kathleen Hanna has spoken about her past in sex work, the hostility she endured for openly discussing it, and the importance of that experience in shaping the form of Riot Grrrl’s protest. 

Kathleen Hanna: “Whenever we were written about in the press, I wanted my sex-work history to be part of the description, because I wanted other women whom I danced at clubs with (and who never knew my real name) to see themselves reflected in some way. A lot of women who are doing music now have been sex-trade workers, prostitutes, dancers; I thought it was really important that I didn’t hide that. But I also didn’t want to glamorize that experience in being a super-cool thing in itself. I just wanted other women who work in the sex industry to remember that we can be sex-trade workers and be philosophers, writers, musicians, artists, or whatever. [Andrea Juno, Angry Women in Rock (1996)]

Riot Grrrl gained significant traction and nation-wide attention. In the decade or so after Kathleen Hanna and her peers catalyzed the movement, bands like Bikini Kill and Bratmobile remained incredibly popular, and likely contributed a lot to shifting attitudes towards sexuality in music subcultures. 

Still, these sex-negative attitudes prevailed among enough people involved in local underground scenes that, when Burning Angel launched in 2002 and Joanna started marketing it in local hardcore spaces, the site received a lot of attention—both good and bad. The positive attention fueled the site and allowed it to expand beyond just photographs, text interviews, and low-budget personal sex tapes that characterized its early content. 

However, the negative attention Joanna and her site received was vocal, targeted, and occasionally involved literal physical violence. As Kathleen Hanna had faced moral condemnation for her time in sex work, Joanna Angel faced criticism from fellow members of her subculture who thought sex work to be completely antithetical to their social justice goals. She has spoken about how difficult it was to see a community she had cared about for years turn her back on her completely for engaging in a type of work that she found enjoyable, and that she thought could be done with moral integrity. 

Joanna Angel: People were calling me ugly, calling me all sorts of mean shit, how [Burning Angel was] making a profit, [we were] exploiting women, blah blah blah. And I was so bummed. I was like, you know, this isn’t fair! I always support every fucking band in the punk scene. Even if I don’t like the band, I support them—I go to their shows, I would hand out fliers for their shows. I thought it was like a code, in the punk scene, that it doesn’t matter whether you like it or not. If this is part of the scene, you accept it, and you help it, and you love it—and I thought that’s what you were supposed to do. I remember being very hurt, you know? I was like, dude, I didn’t violate any punk laws by starting this. My friend from my computer class is the one who put it online. All the other girls on the site—all three of them— were punk chicks and part of the scene. And I felt really bad; people were insulting the other girls, and I really thought I was starting this cool thing where girls could just explore their sexuality. And mind you, at the time, the beginning of Burning Angel was just photos, not even videos. People were getting all up in this upheaval because of a handful of naked photos on the internet. It’s crazy to think about now. [source: Turned Out A Punk #127: Joanna Angel (Burning Angel)]

Amidst the mounting antagonism and after an incident at Hellfest 2004, Joanna officially decided to leave the hardcore scene that she’d been involved with for over five years.

Joanna Angel: I remember going to Hellfest one year. Maybe it was like 2004?…these girls were throwing water balloons at us because we had a booth there. Because we used to get booths at some of these shows and sell tshirts. We didn’t even have any DVDs—we’d literally get in a booth and sell tshirts and hand out fliers and stickers. And these other girls were throwing water balloons at us and calling us sluts. I was like, “Hey, that sucks, can you stop doing that?” And one of my friends—he owned a record label. He owned Eyeball Records, Alex…he saw the girls picking on us, and he went over to the girls, and said, “Hey, can you cool it? They have a booth here—let them do their thing. They’re not gonna get in your way.” And then those girls and their boyfriends beat him up, and he wound up in the hospital. He almost died. It was terrible. And I was like, we have to get out here. Let’s just stay away. If we’re a porn site, let’s just be a porn site. Let’s promote ourselves with other porn companies; let’s step away for a little while. Everyone in the punk scene knows who we are. They’ve made their decision about if they like us or not. I’m still gonna interview bands, still gonna do that thing—but I’m done. [source: Turned Out A Punk #127: Joanna Angel (Burning Angel)]

Joanna and Burning Angel’s separation from the NJ hardcore scene in 2004 finally brings me to Burning Angel: The Movie, My Chemical Romance, and that interview.

So, 2004: after over two years spent largely behind the camera and slowly expanding her porn site, Joanna finally decided to get in front of the camera and produce a more intentionally crafted alt porn video that retained the feel of the website. Thus Burning Angel: the Movie was born. 

As Joanna explains in the interview, the general idea of the DVD was that different self-contained pornographic scenes would be interspersed with band interviews. One of the key features of Burning Angel, like Suicide Girls before it, was the band interviews subscribers could access alongside the porn, so it made sense to preserve this aspect of the site on the DVD experience. Joanna interviewed five bands in early 2005: Killswitch Engage, Eighteen Visions, Shadows Fall, The Dillinger Escape Plan, and, of course, My Chemical Romance—all bands that Joanna admired, and who had been involved in the same scene that she had recently left because of very real threats to her emotional and physical well-being.

Within this context, My Chemical Romance’s decision to participate in the Burning Angel interview was a statement, as they put their support behind an enterprise that was highly controversial within the social circle most immediately relevant to them. 

Fresh off the 2004 Warped Tour and promoted Three Cheers for Sweet Revenge, My Chemical Romance might have appeared to be largely divorced from their scene of origin, but they still acted in response to those politics—politics that impacted American culture at large more than you’d think—in both intentional and incidental ways. 

That is not to say that MCR was being overtly political; they’ve made a clear effort to distance themselves from the clear-cut political imagery and goals of some of their peers in hardcore. Still, the band (Gerard especially) very obviously cared a lot about using their music and stage presence to express shades of sexuality that they perceived to be lacking from some forms of music.

Gerard: I also wanted, at the same time, [for] the record to be a testament to self-expression, and putting stuff in there like that, while not being a homosexual myself, but expressing myself in a homosexual way, is either going to push your buttons in a negative way or you’re going to identify with it. [AP: Well, this whole scene wants you to be sensitive, but not too sensitive.] It is extremely homoerotic, especially the whole emo-sensitive thing. Everyone’s wearing women’s pants; everyone’s got women’s haircuts; everyone’s wearing youth-medium shirts. I don’t want to come out and say it. It’s blatantly obvious. Wearing a leather jacket is an extremely masculine thing to do in this scene. Even the hardcore bands, the really hard ones, you see them in makeup and stuff. I like that. I think it keeps it dangerous. It keeps it exciting. In a way, sex has really been missing from rock, especially because of all the sensitivity. That’s what I really wanted to convey on the record, too. I wanted the record to be very dangerous and sexy at the same time. There’s such a lack of sex in music. It’s been more about getting in touch with your feelings and being there for each other, which is great, but it’s definitely lacking this sexual duality. [Source: Alternative Press #193, Aug 2004; emphasis mine]

Additionally, many of their moments of explicit sexuality on stage were designed to be somewhat incendiary and polarizing. 

But it’s important to remember that, just as late 90s New Jersey hardcore was not the first subculture with issues of sexual repression, My Chemical Romance does not represent the first attempt to push back at this asexual culture and definitely weren’t leading that particular conversation. Gerard took inspiration from artists already pushing those boundaries and incorporating sexual expression into their art. He has spoken, for example, about the impact of Riot Grrrl acts upon his music and stage presence (Joanna Angel has similarly pointed to bands like Bikini Kill as significant influences). These bands had already incorporated resistance against harmful sexual repression, values which Gerard and his band mates took on when they adopted their styles into My Chemical Romance.

(I also want to mention briefly that other significant people in the hardcore world have spoken out against pornography, such as Ian MacKaye of the formative post-hardcore band Fugazi. MacKaye owned Dischord Records, the definitive underground music label, to which a young Frank Iero unsuccessfully attempted to get his band Sector 12 signed. The matter of pornography and its role within the hardcore world was not one upon which you could maintain a neutral stance after, say, appearing on a porn DVD.)

As shitty as it was that they needed approval from the men in the scene, My Chemical Romance, along with other bands, supported Burning Angel, a new kind of porn, and helped legitimize Joanna Angel’s claim that what she was doing was not backwards or exploitative but had integrity. 

Have you had an issue with people you grew up with when they find out you're in the adult industry? Joanna: At first people had problem[s], but not anymore. Once the cool kids in bands said, "I think what she's doing is cool" all the others turned around. Everyone I ever respected didn't have an issue with it and all the stupid, annoying hardcore kids had a problem. For as much shit as I got, I also got a lot of support. [Source: Hustlerworld Interview: Joanna Angel]

I don’t mean to glamorize the porn industry or to depict Joanna Angel as some savior of female sexuality in the early 2000s. But, as Kathleen Hanna points out, sex work is legitimate work, and sex workers deserve to have workplaces that treat them with dignity and communities that recognize their humanity. The reality was that NJ hardcore as a community did not support sex workers. Fundamentally, these were the barriers that caused Joanna and Burning Angel to make an exodus from the local hardcore scene—and they are the attitudes we risk reproducing when we express discomfort that a band we admire has interacted with a sex worker.

My intentions with this post (which turned out longer than I had ever anticipated, so Jesus, thank you for reading) were to shed light on the historical context of one moment in My Chemical Romance’s history. I’ve found that the average MCR fan, even those with a specific fondness for their early years, doesn’t actually know much at all about it—so I hope this has given some clarity.

I’ll end on this note: Without bands supporting Burning Angel, who knows—we might have never seen the lemon stealing whore. At the very least, the culture surrounding porn would look a lot different. That might not mean it would look better or worse—though you can’t deny the role that Joanna Angel played, nor the role that bands from the New Jersey Hardcore scene like My Chemical Romance played in shaping the American culture of pornography. 

Find sources for this post here.