Joe Hunter, Performance Category Judge, details the recent work the Performance Category conducted to help with challenges
We believe we have a working understanding of where the current "line" is for barbershop performances in a BHS setting, and this aligns with the BHS "Statement Regarding Acceptable Taste" and "Statement of Affirmations".
In a contest setting, the Judging Community and the Performance category in specific owns not only the responsibility and custodianship of good taste, but also the encouragement of artistic expression, risk taking and expanding artistic boundaries. At times, the task presents immediate challenges and then judicial discretion is used to best serve these multiple goals.
As we often do after major events like the International Competition, the Performance judges convened as a group and did further training and discussion after last year's International competition. This process started in August 2024, but we felt there was more to do to achieve relative consensus and provide solid grounding to the Performance Category.
To that end Category leadership held a series of meetings and a Taste Task Force was constituted which was comprised of current leadership (Gary Steinkamp - CS, Dusty Schleier, Allen Otto and Theresa Weatherbee - Performance Board of Review), Blair Brown, Will Lagos, and past Category Specialists Mark Kettner and Marty Lovick and Joe Hunter - Past CS and Taskforce Chair. A few of us were tasked with creating a challenging "playlist" of barbershop and non-barbershop examples that to varying degrees push the envelope in the areas mentioned above. This VERY ENTERTAINING list of performances ran the gamut from Dolly Parton to Marilyn Manson, from Beyonce to Taylor Swift! All 9 team members completed the assignment of watching these performances and doing the following:
noting whether this performance would generate a conference.
noting whether this performance would generate an advisory note, or some level of penalty. up to and including DQ.
providing rationale in the comments section of the spreadsheet.
This very diverse and talented group then met for 3 1/2 hours to discuss these 26 performances and arrive at some level of consensus. The result was VERY HEARTENING - the team was able to come to consensus on EVERY performance using our guidance and CD language. We did not always start at agreement, but we were able to get to a point of agreement in a very reasonable amount of time, with some give and take. In many ways that discussion mirrored what occurs in a conference at a contest, just in longer form.
Below are a few concrete examples that tell the story of such challenges:
We watched Dolly Parton performing “9 to 5” in a chic gown. While the gown was somewhat revealing, we all perceived this as acceptable for a Barbershop stage—not in small part because of the performance and the fact that Dolly as a performer radiates wholesomeness. No penalty or conferences recommended.
Postmodern Jukebox, featuring Effie Passero, performed a stunning version of Radiohead’s “Creep.” We were all in absolute agreement that this performance was near perfection and would certainly have scored in the high 90s in performance, until 4 1/2 minutes into the five-minute performance Effie drops the “f-bomb,” which is, in fact, in the original lyrics of “Creep.” While it felt appropriate and true to the original, we universally deemed it inappropriate to a BHS stage and would have disqualified it—reluctantly.
Beyonce performing “Texas Hold’Em”—a very popular and somewhat mainstream performance that we all agreed was inappropriate for a BHS stage in topic, intent, and attire. Would have warranted a mid-level penalty.
Marilyn Manson performing a cover of “Sweet Dreams”—a nightmarish, shocking performance that would have warranted a call for stoppage of the contest. This would be totally okay for ticket-holders who know what was in store at a Marilyn Manson concert, but it would be absolutely unacceptable to a BHS audience.
Some performances warranted a good deal of discussion before we achieved consensus—one such example was Meatloaf performing “Paradise By The Dashboard Light.” Some Performance judges were enthralled with the theatricality, the storyline, and the incredible performance chops of Meatloaf on this iconic song, while others were concerned about the semi-graphic and overtly sexualized staging during the “baseball makeout” sequence. A brilliant piece of musical art, but eventually, after lots of healthy back-and-forth, we came down with the judgment that this would warrant a medium level penalty at least.
While attire is not specifically referenced in our Position Paper below, it contributed to our decisions on many of these examples. We looked at attire that might be considered overly suggestive, revealing or inappropriate for a barbershop contest, which generally aligns with contemporary standards. But audience expectations plays a role—“know your audience.” People going to a Slipknot or GWAR concert have a whole different set of expectations than an audience going to see barbershop.
Given this insight, it becomes apparent that the best we can do as judges who both want to encourage creativity and risk taking while also being good stewards of our hobby is to establish a current “line” for our events, and in this case, specifically a “line” at contests. We believe we have a working understanding of where the current "line" is for barbershop performances in a BHS setting, and this aligns with the BHS "Statement Regarding Acceptable Taste" and "Statement of Affirmations."
We acknowledge that this is a snapshot of current societal norms and standards, and as such this is not immutable—we believe the “line” is a living, breathing thing that will require revisiting on a regular basis. The point is, our current guidance (specifically in the Judging Handbook and as laid out in the Taste Position Paper) provides a basis for this process, and is what we utilized in exercising our judicial discretion. We think it warrants repeating this position paper here:
POSITION PAPER:
Performances containing bad taste, or which could be considered offensive, are not common in Barbershop contests. Performers are usually aware of the need to have positive audience engagement. The test of whether a performance is distasteful or offensive is whether, in whole or in part, it would be offensive to today’s audiences or society in general. The Performance judge will assess whether the performance’s impact offends contemporary society’s standards of cultural currency and sensitivity. These rare performances may range from inadvertent offense to a complete disregard for the potential impact on the audience. Judicial discretion in analyzing these situations is paramount, and judges draw on their own life experience as well as their judicial education and training. Performances that are considered in poor taste will be subject to penalty up to and including forfeiture by the Performance judge(s). In cases where there is not clear intent to be distasteful the judge may afford the benefit of the doubt to the performer. If a performance raises questions or could meet the above criteria, the Performance panel will conference to discuss a possible action. (For guidelines see Performance Category Description, Chapter 6 of the Contest and Judging Handbook, Section II.I.1.b.)
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