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Oxbow's Eugene Robinson chokes rowdy concertgoers
So, how will he behave on his new book tour?
By Mary Spicuzza
Published: January 9, 2008
A large man nicknamed Big Chris approached the stage where Eugene S. Robinson and the rest of his band, Oxbow, were performing. Robinson had just had a bottle launched at his head. Big Chris opened his shirt to reveal a ballpoint-penned imitation of Robinson's snake tattoo on his stomach while waving his hands in a "threatening manner."
This particular night Oxbow was playing at the 1 in 12, an anarchist club in Bradford, England — not the type of place with an active security staff. That's when Robinson, a six-foot-one, 235-pound competitive fighter who is also a former bodybuilder and bouncer, decided to act as his own security — or, as he describes it, give himself over to the "violence and blood and fear" in the air. He dragged Big Chris into a martial arts move known as the "rear naked choke," wrapping his right arm under the guy's chin and bracing the back of his head with his left forearm. Robinson leaned back and, seconds later, Big Chris slumped sideways, unconscious. Rather than looking angry, the singer appeared downright joyous through the entire choke-out — a scene captured in the 2003 documentary Music For Adults: A Film About a Band Called Oxbow.
Those familiar with the experimental art-rock band know there will never be a shortage of stories about Robinson's onstage antics. Typical details include tattoo-covered muscles dripping with sweat, ears covered in duct tape, the singer stripped to his underwear, and plenty of pelvic thrusts.
But the most legendary stories about Oxbow shows involve the 45-year-old Robinson's proclivity for asskickage. There are the cautionary tales involving those best described as "hecklers gone bad," such as one man who approached Robinson and confessed to interrupting three live performances by whistling and throwing lit cigarettes and ice chips. He eventually suffered a couple of knockouts at Robinson's hands when he started causing trouble at a fourth Oxbow show. There was a drunken Red Sox fan who, angry after his team suffered a defeat, confronted Robinson outside a club and ended up on the concrete. And there are the stories about overzealous audience members who've ended up being choked, knocked out, or coming close to meeting the business end of a knife.
Robinson admits that the Internet is rife with stories about him being a "prick and a degenerate and a bully." Many actually focus on his clothes-shedding or his sheer ability to intimidate. One reviewer for Decibel, an extreme-metal magazine, described him as a "singer who harbors a fondness — make that compulsion — for getting his dick out onstage." One Pitchfork review cites the "fearsome presence" Robinson strikes, while another calls him a "terrifying hulk of a man."
Still, Robinson insists he has never been obnoxious or violent toward anyone who didn't deserve it. He's a proponent of the theory that disrespect begets disrespect. "In every instance I've gotten into a fight in public, I was attacked first," he says.
But those who know Robinson realize he has passions beyond brawling — and that his brain is ultimately far scarier than his brawn. He's quite the Renaissance man: a Stanford alumnus who majored in communications, a computer geek, an editor, a host with Combat Music Radio, a sex columnist, and now an author. That's right: The San Francisco vocalist you don't want to piss off is on tour again — this time with his new book, FIGHT: everything you ever wanted to know about ass-kicking but were afraid you'd get your ass kicked for asking.
"It started for me with another not-so-simple, simple question: 'What the fuck are you looking at?'" Robinson writes of the roots of his passion in FIGHT.
But he also traces his desire to fight to a deeper aspect of himself that he believes is in his DNA as much as the color of his hair or eyes. "It's in my blood ... the desire to — for want of anything but this colloquialism — the desire to go to the post," he explained at a recent book reading.
Robinson prides himself on being a "pretty straight fuckin' shooter," and argues that fighting is an incredibly honest form of expression. "There's no real equivocation in an elbow to the jaw, no pussyfooting about the gray shadings of meaning inherent in civilized and power-shielded discourse," he writes. "It's a potent tie to our immediate and ever-present animal."
FIGHT, which resembles a dude-friendly coffee-table book with big color pictures and punching illustrations, is what Robinson calls a "kind-of philosophical monograph on the interpersonal nature of conflict." In it, the self-proclaimed "fightaholic" unleashes an homage to all sorts of bloody combat and takes on a slew of professional fighters. He hangs out with notorious Irish mobster-turned-author Kevin Weeks (who allegedly helped Leonardo DiCaprio prepare for his role in The Departed), suffers a ruptured quadriceps tendon against fleet-footed fighter Cung Le, and tracks down ex-cons in an attempt to find out whether a fight style known as "jailhouse rock" is fact or fiction. With its descriptions of cage fighters, soccer hooligans, and professional pugilists, the chapters of FIGHT unfold with the pace and rhythm of a good sparring match. "There's the spastic flurry of hands and the smell that always ends up smelling like chicken soup gone bad (fear)," Robinson writes. "There's the mumble and the groan and eventually the slip into recognized roles (doer and done to). And finally, if everything works right, there's the reminder that we are far worse/better than the animals we own as pets and unsophisticated chattel.
"What we are though, is this: we are fighters."
Spicuzza is reaching for the bad boy titillation story and missing much of the point of eugene robinson's oeuvre. why couldn't she have included all that great stuff about beautiful sweaty muscles AND said a little bit more about the actual writing in FIGHT!, too? How about what sets Oxbow apart from other hardcore bands: the lyrics, all by Eugene. It's poetry that doesn't even need the music. I'm so sick of laundry lists of eugene robinson's antics. she really had to dig to find all the shallow facts she came up with, given eugene's obsession with privacy. And why couldn't she have asked him more about his thoughts on "our immediate and ever-present animal?" Aren't you supposed to ask an author what it was like to write the book, the process, etc.? "COFFEE-TABLE BOOK???" Did she even read beyond the first page? let's hope we get some follow-up reviews in SF Weekly, and around town, by people who know how to hold an intelligent conversation with an artist.
Comment by stackedup&po;'d — January 10, 2008 @ 12:07PM
Just finished reading your story about Eugene Robinson here in front of
Royal Ground Coffee on this shitty cold dreary day and I just wanted to
email you and say thanks. Thanks for such a great read. VERY
interesting. Now I have a new band to research, a new book to buy and
one intellectual/brutal black man to watch out for!!
Great job.
Comment by Scotty — January 10, 2008 @ 03:46PM
I loved this article. It addresses the art as well as the artist. I left the story with a sense of knowing Eugene Robinson, despite the fact that I'm not familiar with his work. I'm looking forward to picking up his book. Earlier comments by stackedup&po;'d reveal not only an obvious personal attack at the article's author, but sheer ignorance of journalism.
Comment by jacked&reddy2rumble; — January 12, 2008 @ 02:34PM
I loved this article. It addresses the art as well as the artist. I left the story with a sense of knowing Eugene Robinson, despite the fact that I'm not familiar with his work. I'm looking forward to picking up his book. Earlier comments by stackedup&po;'d reveal not only an obvious personal attack at the article's author, but sheer ignorance of journalism.
Comment by jacked&reddy2rumble; — January 12, 2008 @ 02:35PM
stackedup&po;'d has a point! Read FIGHT, then you'll see that Ms. Spicuzza barely scratched the surface, gleaning only the top layer of sensationalist passion that is to be found therein. If you're one of the thousands that already read in SFWeekly about Eugene Robinson being named Provacateur of the Year, much of her article will indeed seem old hat. As someone who happened to check the 11-06-07 Great American Music Hall performance of Oxbow, I can say that it wasn't about how many articles of clothing Robinson did or did not shed while on stage, it was about an awesomely mixed "hometown" band making you know why San Francisco still is IT!!!
Comment by Armed N. Barred — January 16, 2008 @ 12:34PM
Hi, Mary;
I'm the guy you saw messing with Eugene at Camera Works. Actually, I *am* a
hypnotist who trains fighters (www.powerhypnosis.com), as well as a pugilist
and creative artist myself, including 2007 winner of the SF Weekly
MasterMinds Award for Literary Arts. However, you're right ‹ I'm older than
Eugene!
One of my toughest boxer clients is Joe Gumina, the current California light
heavyweight champion. Another is Melissa McMorrow, the national flyweight
Golden Gloves champion, a young lady you definitely don't want to annoy.
What I was doing that night was testing Eugene with a light verbal jab, as
anybody would in my profession. I never expected him to get violent at all:
he's too hip ‹ and also originally from NYC, like me. That's how we used to
play back there in the old days.
I loved your piece! Thanks for giving a real fighter the publicity he
deserves.
All the best,
Comment by Mickey Disend — January 16, 2008 @ 03:02PM
I live in CA but much further south. I love this article! As someone who has only spent some time in the Bay area, I thought the subject was treated with a sense of the bigger picture, beyond SF borders. Thank you for that! It takes great talent to write for a larger audience, as opposed to assuming that your readers are local and/or bear foreknowledge the subject. More pieces like this please! I only wish Mr. Robinson would recognize that there are actors who are artists, too!
Comment by Adelade — January 16, 2008 @ 04:01PM
I saw Eugene do a reading in Dallas. He was very open to my questions that dealt more with the writing process. He was quite lovely and generous with his responses.
Comment by Michele — January 28, 2008 @ 07:33PM
oh.....i think acting's fine. but have you noticed that all of the great ones deride it as a serious artistic pursuit? it's RE-creating. it does not adhere to the ex nihilo principle...out of nothing comes something....no. actors are not creating anything new unless they're improv actors....which the good ones are. but most actors are not good actors. so...my above statement....
Comment by Eugene Robinson — February 14, 2008 @ 12:35PM