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Superstar Vaginal Crème Davis also known as Dr. Davis was a force to reckon with in punk music. It is important to appreciate her upbringing and identity crisis as an African American. She also had a Mexican heritage courtesy of her father. Overall, she was still a “woman of color” and this greatly inspired her provocative works and stage presence. As a young woman, she struggled to identify herself as a White person. She desperately wanted the privileges that only White people could access. These opportunities could not be realized by the likes of Davis (people of minority groups). For this reason she had a White boyfriend, and in her words, Davis accomplished validation through association. This aspect of disidentification also influenced her works. The White to Be Angry is one of Davis’s live shows by her hardcore metal band Esther, Muriel and Pedro. Davis emerges as a versatile performer via her different works: anthologized short fiction, independent video, zines, public access programming, performing art, bar drag, three bands and the posiyion of a hostess in a L.A. punk rock club Sucker.
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As it is evident in her works, Davis vehemently opposes (disidentifies) White supremacy. Davis highlights the racial perceptions of Whites towards people of minority groups in The White to Be Angry. In the show, a white man openly brags about his pretty gun and its value especially when he goes to the ATM. This reflected the high social standing of the White elites who could withdraw large sums of money from the ATM. The lower social classes are comprised of poor minority groups (African Americans, Latinos, and Asians). They posed a security threat to the Whites. Davis also rebukes (disidenfies) with a pathological homosexual killer. The stage performance is an attempt to admonish and reveal the barbaric ferocity exhibited in homophobic crimes.
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