肮脏 血腥 变态没有人能那么坦然地在自己拉出的大便上滚来滚去。GG Allin，或者，按他出生证上的名字，耶稣?基督?艾林，对于变成摇滚乐历史上最堕落的表演者，很明显有他自己充分必要的理由。但这个理由是什么呢？他一贯反抗的文化体制？生活本身？生命的常态——那个呆滞迟缓，拖着脚走路的巨人？还是，他在10岁之前，生活过的森林小木屋，他父亲在那儿的地下室挖了一个坟坑，以及与此有关的事？
2005年新发行的DVD，《GG Allin：野蛮的南方—— 1992巡演最佳片段》，给了我们否定的答案。在这部DVD中，赤身裸体，嘴里没有一颗牙齿的他，与临时凑合的乐队“谋杀瘾君子（也可以翻译成吸毒杀手）”，正在进行自己生命中最后一次巡演，把所有人带向地狱。他身上的文身，“Life Sucks（吸取生命）”、“Vomitose（Vomit是 “呕吐物”的意思，Vomitose这个单词翻译成中文不知道是什么意思，GOOGLE搜索出的很多内容都是和GG Allin有关的，还有一些关键词是唱片厂牌，朋克，有一个朋克乐队的名字就叫Vomitose，应该是个合成词）” 、卡通墓碑，看上去就像出自一个很有天才且仇视一切的6岁小孩之手。关于音乐方面，只能说，忘记音乐吧。那种有着剃刀般锋芒，粗俗地表露感情的布鲁斯朋克仅仅是为了达到目的而采取的手段。第一首歌（“我为憎恨而生”）刚起头，GG就开始发了疯一样用麦克风抽打他光秃凹陷的脑袋——不到5分钟，就已经满头是血，仿佛戴了一顶内里全是刀刃的看不见的王冠。再不久，场内屎尿横飞：他先是蹲下去，在里面打滚，然后用手抄起一砣，姿势就像慷慨的神，正向干旱的大地挥洒甘露，把自己的排泄物向台下的观众掷去。这就是法国人所说的 “nostalgie de la boue”（对鄙俗之物的膜拜）——一次有组织的狂欢？这部记录片中，有一个人的表现值得关注，他呆在扩音器后面，可能是保安或是舞台管理，乐队调音时，他神色木然，正在往身上套一件雨衣。当GG开始吃《圣经》时——在那个没让自己被逮捕的晚上，他给了现场某人一罐番茄灌肠剂，吞吃了《圣经》中的几页，对GG而言，那是一个气氛不活跃的夜晚——观众可以重新确认一个事实：这绝对不是神经错乱，这只能说是一种对常人眼中的 “神圣”的亵渎。
GG（这个名字在英文中，很有婴儿昵称的意味，冠名这样一个狂怒的男人，绝对后现代）把由Iggy Pop做先驱的上世纪70年代的表演风格再次发扬光大，本来，在Iggy Pop之后，那种表演风格似乎已走进死胡同，到达必然的终点，自残、破坏、毁灭、鲜血，人们的神经似乎已不再能承受这些，但GG出现了，不仅上述要点齐备，还向观众多奉献了一样——大便，这是除GG外，别人几乎想都没敢想过的，遑论去做。今年推出的另一张 DVD是Iggy Pop 1981年在旧金山的现场，其中捕捉到了他生涯中一个不可思议的时刻。The Stooges已经成为历史和回忆，甚至后来 Iggy Pop与David Bowie有过的那次合作都已经被人们淡忘，现在，皮松肉垮的Iggy Pop被人提到时，身上仍挂着一以贯之的“坏男孩”标签，但明显，他早就对把自己撕成碎片失了兴趣，前一段他正四处奔走，为他那张主题是站不脚的快乐主义的专辑《Party》做宣传 ，一代朋克传奇终于走上“正轨”，当年为一句“我要在变老之前死去”而热血沸腾、抛掷生命的一班摇滚干将，终于还是活到了丢人现眼的年纪。好在，大多数人都是宽容和健忘的。
让人难以置信的是，《Party》听上去还相当不错。像“Bang Bang”和“Rock ’n’ Roll Party”这样的无脑曲目，甚至“I’m a Conservative”这首让人脚步虚浮的歌曲，因为有一支精锐乐队（包括前Blondie的鼓手Clem Burke，以及未来将做David Bowie吉他手的Carlos Alomar）做后盾，所以音乐氛围自然有一种生猛的气息，而在这种生猛之下，是Iggy蜥蜴般的男中音，仿佛全副武装，但已经衰老的夜魔侠，在夜色中徘徊，身上的甲胄发出幽暗的光芒。
让我们回到1981年的旧金山。贝司手就像从《星际迷航》的片场跑出来的演员，穿着一件连身服，耳朵上挂着耳饰，仿佛一串金色的口水。吉他手之一戴着一条皮制的领带。而Iggy穿着一件质量上乘的皮甲克，下身是一条超短裙，露着吊袜带，腿上裹着尼龙长袜，脚蹬高跟鞋，前踢后打，状态极佳。后来他应观众要求出来再唱，仍然是女人的打扮，只是上身换了一件半休闲的牛津衬衫，看上去就像某个大人物乖巧活泼的私人秘书。
这与腆着臃肿的啤酒肚，一点也不“美丽”的GG形成尖锐对比，后者已经丧失了任何让人对他做无聊联想的通道，也掐断了不论男人还是女人性幻想的苗头。从画面上，我们找不到传说中对他无条件效忠的死硬教徒，他并不像Iggy Pop那样享有台下观众 ——还是，不论男人，还是女人——渴望和崇敬的凝视。在这部DVD中，GG的观众似乎都和他有不共戴天之仇，在得克萨斯一场演出的末尾，有大约10个观众直接冲到台上，把他痛打了一顿。但是，你必须承认，GG的肌肉组织是用最优质材料制造的，否则，经受所有这些令人发指的摧残，没有人可以像他那样，活下来，而且，据说，还越来越强壮。
在那次巡演的半路上，GG被逮捕，野兽的狂欢之旅戛然而止，所幸，留下几段影像记录，在十几年后，让抱着猎奇心态的人可以在空腹的情况下（哈哈！）满足自己脆弱纤细的脑神经。
第一个场景是在亚特兰大的残骸之屋，画面很暗。大部分时间里，只能看到黑屏，时而，GG会从阴影中跳出来，剥下他的粉色内裤，用麦克风敲自己的脑袋，或是攻击在台前忘情跳舞的人，当时演唱的歌曲是“I Wanna Rape You”。能看出来，GG当时努力想做出一台好的摇滚演出，很卖力，乐队对他也是鼎力支持，背景音乐宛如轰鸣的圆锯，够脏，够噪，如果不是光线实在太差，可以说，亚特兰大的演出是一个经典。
得克萨斯的首场演出是在DMZ俱乐部，画面也相当晦暗模糊，似乎GG早先已经在台上拉了一堆，如果情况如此的话，那么他看上去好像想把它吃下去，也许这就是很多现在的观众想在这个场景中了解的情况。
第三也是最后一场演出是在乐队于奥斯汀时摄制的，GG一丝不挂，又一次试图在地板上大便，一边猛拽他的小鸡鸡。看到一个男人撅着他只有一英寸长短的阳具，声嘶力竭地呼喊“I wanna rape you!”，一遍又一遍，无论再怎样严肃的人，都会忍俊不禁的。演出结束时，GG又是血肉模糊，身上裹满了他的排泄物和分泌物，还有啤酒或是任何可以想象的观众扔到他身上的东西，现场看上去就像一个屠宰场，一座废墟。在抱着猎奇心态的人看来，这绝对算是一场成功的演出了吧。
不论人们对GG Allin其人有过怎样的评价，这张DVD上记录的“腐败”摇滚场面绝对有纪念价值，对没有在现场领受过GG侮辱的人而言，即使年代久远，隔了电视屏幕，它带给人的震撼一样是无与伦比的，这是摇滚乐历史上，最后一次真正意义上的反叛，而我们都不得不相信，表演者绝对是 “情真意切”的。
就不说什么反思了吧。
To some, G.G. Allin was the ultimate symbol of rock & roll rebellion, taking it to extremes that no one else was dangerous enough to explore. To others, he was a lunatic whose attempts to shock and disgust were too ham-fisted to be taken seriously. Wherever the truth lay, there can be no doubt that Allin was the most spectacular degenerate in rock & roll history. Music was almost incidental to his violent, scatological stage act, which got him arrested over 50 times for a litany of offenses, and made Iggy Pops antics with the Stooges look like The Donny & Marie Show. Rarely performing for more than 10-20 minutes before clubs shut him down, Allin usually took the stage in a jockstrap and wound up nude; he beat himself bloody with broken bottles, torn cans, and microphones (when he wasnt trying to shove the latter up his own ass); he attacked and was attacked by his own audience; he urinated on the stage, on his band, on the audience; he frequently took laxatives before shows in order to defecate on the stage, after which he generally ate his own feces or threw them at the audience; and yet, somehow, he still found audience members willing to perform oral sex on him on-stage. Needless to say, he also ingested enormous amounts of booze and drugs, served several prison terms, and even promised to commit suicide on-stage on Halloween (he died of an overdose in 1993 before he could follow through). His songs — such as they were — were comically over-the-top hell-raisers about substance abuse, casual violence, and sexual conduct that was at best degrading and at worst criminal. Yet no matter how vile he was, Allin had his supporters, whether they belonged to the outermost fringes of society, admired his absolute freedom of expression, or were simply fascinated by the spectacle of a man venting all the ugliest, most primal impulses of the human id.Much like his life, Allins discography is a confusing mess, with countless reissues, compilations, and live gigs cluttering the issue and making it difficult to tell at a glance where any given track listing originated. His music rarely deviates from basic, thrashy, three-chord punk, and his once-adequate voice, ravaged by years of mistreatment, can charitably be described as tuneless and hoarse. Song titles like Im Gonna Rape You, Expose Yourself to Kids, Bite It You Scum, Outlaw Scumfuc, Gypsy Motherfucker, Suck My Ass It Smells, Die When You Die, and Young Little Meat — all fan favorites — give a fair idea of his self-conscious repulsiveness. Allin recorded for many small labels and with many different bands — the Jabbers, the Scumfucs, the Holy Men, Antiseen, the Murder Junkies, and many more; some were his own, some were one-off collaborators. Naturally, it was difficult to keep a steady group together behind Allin, but he also had many admirers who wanted to work with him and/or release his music, including surprisingly big names in the underground rock world (J Mascis, Thurston Moore, Dee Dee Ramone, Wayne Kramer, future Matador head Gerard Cosloy, etc.).Few of Allins associates denied that his erratic behavior was likely the result of mental problems worsened by substance abuse; many speculated about the possibility of a split personality, a man who would veer abruptly between politeness and violence, intelligence and incoherence, egomania and self-loathing. And if Allin wasnt a clinical sociopath — as his public persona and interviews suggested — he was likely pretty close. Yet even in his most rambling diatribes, he seemed to have a definite philosophy and a sense of what he was doing and why, regarding himself as the savior of real rock & roll. (Some even suspected that he eventually started taking his shock-value lyrics seriously, perhaps acting them out to prove his integrity.) Whether Allins aesthetic and work should be taken seriously or not, its abundantly clear that the danger was very definitely real.Although Allin denied that his family environment played a significant role in what he became, its difficult to think that his father had nothing at all to do with it. A highly religious, antisocial man (though according to G.G. not physically abusive), he ordered his son named Jesus Christ Allin when he was born in Lancaster, NH, on August 29, 1956, telling his wife hed had visions about the boy. (Allins brother and future bandmate Merle pronounced Jesus as Je-Je, giving him his lifelong nickname.) The family lived in a two-room log cabin with no electricity or water, and Allins father forbade all conversation after dark; he even dug the familys graves in the cellar, threatening to commit suicide and take them with him. When G.G. started school, his mother had him legally renamed Kevin Michael Allin; several years later, she divorced Allins father.Allowed to listen to the radio, G.G. fell in love with rock & roll and learned to play the drums. Unsurprisingly, G.G. was a misfit and a malcontent from junior high on; he was placed in special ed classes and was left back one year, and rebelled by sometimes showing up to school in drag. He and his brother Merle, a bassist, played together in several bands while still in school, and G.G. discovered his penchant for confrontational theatrics very early on, although they couldnt hold a candle to his later stage act. He discovered punk rock in the late 70s, and played drums in a band called Malpractice; around the same time, he was married for several years and had a daughter, but eventually left his family and took up with a 13-year-old girl. Musically, he moved on to a band called the Jabbers, which earned a following on the bar scene of Manchester, NH.In 1980, Allin and the Jabbers cut their debut album, Always Was, Is, and Always Shall Be, for the New York-based independent label Orange. At this stage, Allin could carry a tune in a decently snotty punk rock voice, and his music was a fairly catchy hybrid of hardcore punk and power pop. His subject matter was hardly extreme, although he did show a strong misogynist streak right from the start (even if he generally hated everyone else too). In 1981, he recorded Gimme Some Head, a one-off single with the Motor City Badboys, who included guitarist Wayne Kramer and drummer Dennis Thompson of the MC5. Two EPs, Public Animal #1 and No Rules, followed on Orange in 1982 and 1983, respectively; the former featured perhaps his best-known early single, You Hate Me and I Hate You. Disturbed by Allins increasingly volatile stage antics, the Jabbers broke up in 1984.Allin joined his brother Merle in Boston and briefly fronted the Cedar Street Sluts before forming a new group dubbed the Scumfucs. He also started his own Blood label in 1984 to release an album with an otherwise unreleasable title, Eat My Fuc (later dubbed E.M.F. when reissued). True to its name, Eat My Fuc marked the point where Allins lyrics took a turn for the demented. Several EPs — Hard Candy Cock, I Wanna Fuck Your Brains Out, Live Fast, Die Fast — followed, and over the next couple of years, Allins live act soon became one of the most feared (or celebrated, depending on your point of view) concert experiences in the Northeast. He was an enormously polarizing figure in the punk community, and — unsurprisingly — found it increasingly difficult to get gigs, especially after a 1986 Village Voice article that chronicled a notorious show at New York Citys Cat Club (reportedly the first time he defecated on-stage).In 1987, ROIR issued the compilation Hated in the Nation, which became a cornerstone of the Allin catalog for the simple reason that it stayed in print. It featured early sessions and live gigs with the Scumfucs, the New York Superscum (an all-star group with J Mascis, Gerard Cosloy, and Shimmy-Disc label head Kramer), the Cedar Street Sluts, and the Motor City Badboys. That year, Cosloys Homestead label signed Allin and released his album with the Holy Men, You Give Love a Bad Name. His second effort for Homestead was 1988s Freaks, Faggots, Drunks & Junkies, a fan favorite that introduced some of the most popular numbers in his later repertoire. That year, Allin was scheduled to appear on the confrontational Morton Downey Jr. Show but never made it to the taping; he and the band trashed their hotel room and were arrested.In 1989, Allin first made his infamous announcement that he would shoot himself on-stage on Halloween night 1990. An execrable concert album, Anti-Social Personality Disorder - Live, was culled from his tour that year, which ended in Michigan when he was arrested for assault. Specifically, Allin had taken up with a young woman who requested (according to Allin) various sadistic sex acts over a period of several days, but turned him in when he tried to wake her from a drunken stupor by burning her leg with a cigarette lighter. Allin pleaded no contest to charges of aggravated assault with intent to mutilate, and went to jail for 18 months. During that time, archival Allin material appeared on several labels, most notably on 1990s Doctrine of Mayhem. Upon his release, Allin jumped parole to mount a tour with the Murder Junkies, who featured drummer Donald Dino Saches (who performed in the nude and had served time for indecent exposure), guitarist Bill Weber, and brother Merle on bass. The early part of the tour was documented by NYU film student Todd Phillips (who would go on to direct mainstream comedies like Road Trip and Old School). Phillips financed the finished documentary, Hated, in part by selling Allin posters painted by G.G.s pen pal, John Wayne Gacy (whose work also graced the cover of the accompanying soundtrack album). Allin was arrested several times on the tour, the last in Texas, where officers discovered his parole violation (by this time, he had outstanding warrants in several other states as well). He was extradited to Michigan and served some more time in Jackson State Penitentiary.Still claiming he would commit suicide on-stage on Halloween, Allin emerged from prison in 1993 more determined than ever to exact his vengeance on society. He recorded a new album for the Alive label, Brutality and Bloodshed for All, that added revolutionary (albeit somewhat inarticulate) politics to his typical subject matter. He and the Murder Junkies mounted another tour, accompanied by videographer Evan Cohen (who would later write the book I Was a Murder Junkie: The Last Days of G.G. Allin about the experience). Allin also made the rounds on the talk show circuit, appearing on Jerry Springer and several other programs (hed previously appeared on Geraldo to announce that his body fluids were a communion with the people). That June, Allin went to New York to attend the premiere of Phillips documentary, Hated. Several nights later, he played a show at the Gas Station club that ended with fans rioting in the streets, and Allin escaping the police naked and on foot. He went to a friends apartment on the Lower East Side, where he consumed alcohol and heroin. On the morning of June 28, 1993, Allin was found dead of an overdose — a typical rock & roll death for a rock & roller who was anything but typical. He was buried in Littleton, NH, after a predictably colorful funeral, leaving behind the most disgusting legacy in rock history.
