Iggy Pop, who turns 75 today, was notorious for subverting cultural standards with a brutal, sometimes violent stage presence. Revisit our Profile of the prodigious musician, who helped invent and refine punk rock.
Wayne Kramer recalled the show as feeling instantaneous and electric. “I was expecting a band. It was way more than a band. It was primal,” he said. “Simple is not easy. It was the first time I ever saw someone dance and interpret the music to the degree he was able to, live onstage.” He added, “The music wasn’t pop, it wasn’t rock, it was something else. It was dark and foreboding and powerful and hypnotic.
At the time, however, critics and listeners mostly found the band insane—four angry young men brazenly wrecking themselves in service of who knows what. Even, a bullhorn for the counterculture, didn’t entirely dig it: “Their music is loud, boring, tasteless, unimaginative and childish. I kind of like it.” The rock critic Lester Bangs—a fan—wrote, in, in 1970, “Antisocial art simply don’t fit in, brothers and sisters.
It’s possible to find echoes of the Stooges’ penchant for physical and spiritual obliteration in contemporary music; I often encounter a similar sort of purposeful dissolution in the songs of emerging rappers on SoundCloud. Many of these m.c.s praise benzodiazepines and other anti-anxiety medications, and their slurred, depleted delivery seems to indicate a wish to briefly disappear. They tattoo their faces, a gesture that swears off mainstream acceptance.
“He was talking about things as they are, rather than in pop conventions,” Richard Hell said, of Pop. “He took all the monotony and frustration and made it great.”Returning to the Rolls, he said, “What I like about it is, it makes me feel like everything’s O.K.
This past year, Pop went on a brief twelve-date tour of Australia and Europe, starting with two sold-out shows at the Sydney Opera House. He wore dark pants, thick boots, and a leopard-print jacket with no shirt. He charged the edge of the stage, waggled his arms, and galloped in circles. A critic from theLate in the day, Pop and I walked down a short stone path and sat in a pair of sea-foam-green Adirondack chairs by the edge of the Little River.
In early 1976, Pop went to see David Bowie at his hotel in San Diego, where Bowie asked if he might want to record “Sister Midnight,” a slinking, funky song he’d been writing with his guitarist, Carlos Alomar. A few months later, Pop and Bowie travelled together to the Château d’Hérouville, an eighteenth-century estate outside of Paris, to make what became “The Idiot,” Pop’s solo début. Afterward, they moved into an apartment on a tree-lined street in West Berlin.
“When ‘Post Pop Depression’ got good reviews, across the board, he got emotional, because that had never occurred before,” Homme said. “He was a pariah at times in his life. The constant doubt of others might have been a springboard for him sometimes being self-destructive.”
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