20/01/12
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I had to see him live, despite the unwelcoming to punk ethos walls of Royal Festival Hall; me, along with a few other hardcore punksters and spectacular goths.
His uninterrupted spoken word marathon kicked off with the touring highs and lows (like swallowing a helluva lot of spit) of Black Flag, went via Captain Beefheart, his KCRW radio shows and stint as a National Geographic reporter, George W. Bush, Tibet... to end up somewhere I couldn't quite distinguish; I was half asleep by then.
It's not that he was boring. I was tired. But since the very beginning, Mr Rollins gave me the impression to cash in on his notorious punk days - the way he has for years now, taking the high road towards much more commercial and anti-anti-authoritarian stuff (if you catch my drift). I guess I gave up on him. I didn't wanna be an eye-witness to his ascent - pure descent from where I stand; and not just because he wasn't much of a punk anymore. But he abused himself and his art.
What are my impressions of Rollins as a spoken word artist onstage (cause I do own 1984 spoken word Black Flag LP Family Man, I do know what to expect)? On a DIY friendly stage, he'd be unquestionably funny, witty, eloquent, acerbic. But in a high-class venue, he looked much more talented in serving the masses, falsely modest and uncharacteristically likable.
Take almost any eloquent and street-smart artist, "punk", if you may - Richard Hell, Patti Smith, to name a couple of known ones (let alone the army of talented unknowns...). Their gigs are crammed with whip-smart social commentary and jokes. Rollins has a few things to say - and he can do it well; I'm just not convinced his commentary alone got him that far; and not his commercial rock 'n' roll status and ambition.
And for that, I don't respect him. He didn't have to work as hard to perfect his task - cause there are a lot of flashy events in his life, and even if he caused them, they do half the job. It's the witty recounts of a famously loud man that sell.
And he (ab)uses it.
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