"I think what I do is positive, in its own way"
About this Quote
"I think what I do is positive, in its own way" is the kind of self-justification that only lands because GG Allin’s "what I do" was so aggressively, notoriously destructive. The line isn’t a plea for approval so much as a dare: try to define positivity in a culture that sells rebellion as lifestyle branding, then watch what happens when someone actually lives inside the ugliest version of that promise.
Allin’s intent reads less like moral argument and more like sabotage. He takes a word with safe, civic connotations - positive - and drags it through the filth of his performances, where bodily fluids, violence, and self-harm became both spectacle and critique. The phrasing "in its own way" is doing the heavy lifting. It’s a rhetorical escape hatch that refuses shared standards, a preemptive strike against critics: if you can’t measure my good by your rules, your outrage becomes part of the act.
The subtext is a warped version of punk’s original claim: that confrontation can be clarifying. Allin frames extremity as purification, forcing audiences to confront their appetites for transgression, their hypocrisy about class, disgust, and masculinity, and the thin line between catharsis and cruelty. He’s not asking to be understood; he’s insisting that misunderstanding is the point.
Context matters: late-20th-century America, where moral panics, tabloid sensationalism, and underground scenes fed each other. Allin understood attention as currency and contamination as method. "Positive" here doesn’t mean wholesome. It means active, corrosive, impossible to ignore.
Allin’s intent reads less like moral argument and more like sabotage. He takes a word with safe, civic connotations - positive - and drags it through the filth of his performances, where bodily fluids, violence, and self-harm became both spectacle and critique. The phrasing "in its own way" is doing the heavy lifting. It’s a rhetorical escape hatch that refuses shared standards, a preemptive strike against critics: if you can’t measure my good by your rules, your outrage becomes part of the act.
The subtext is a warped version of punk’s original claim: that confrontation can be clarifying. Allin frames extremity as purification, forcing audiences to confront their appetites for transgression, their hypocrisy about class, disgust, and masculinity, and the thin line between catharsis and cruelty. He’s not asking to be understood; he’s insisting that misunderstanding is the point.
Context matters: late-20th-century America, where moral panics, tabloid sensationalism, and underground scenes fed each other. Allin understood attention as currency and contamination as method. "Positive" here doesn’t mean wholesome. It means active, corrosive, impossible to ignore.
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