If you grew up listening to punk rock music, or had a cooler older sibling who did, you’ve probably already heard of Henry Rollins. As the lead singer of hardcore punk band Black Flag during the early to mid- 80’s, Rollins was a central figure in the group’s best work, including the seminal Damaged album. After Black Flag’s breakup, Rollins went on to start his own record label and publishing company, 2.13.61, releasing material from his new project, the Rollins Band, as well as the output from his burgeoning career as a spoken word performer and writer.

Although the Rollins Band eventually dried up, Rollins himself has become something of a niche pop culture icon over the last decade. He’s appeared on television shows ranging from Vh1’s I Love the 80’s to FX’s Sons of Anarchy, hosted The Henry Rollins Show on the Independent Film Channel and a radio show on LA’s Indie 103.1, acted in films like Heat and Bad Boys II, and participated in a number of documentaries. In his spare time, he involves himself in political and social activism and blogs for Vanity Fair’s website.

Even with so much on his plate, Rollins is planning a large tour in support of his most recent spoken word release, Spoken Word Guy. He agreed to answer some questions for Each Note Secure regarding his status as a punk icon, the ways life on the road has changed over the years, and his views on the state of the country right now. He will perform at the Southgate House on Saturday, April 3rd.

[Each Note Secure] A lot of people remember your formidable stage persona from the work you did in Black Flag and the Rollins Band. Do you try to bring the same level of intensity to your spoken word performances? Do you feel that your performance as a musical vocalist is related to your performance as a spoken word artist?

[Henry Rollins] I don’t think the talking shows are nearly as intense as a band show but they are more difficult to do. There’s no one up there but me and that presents a constant challenge. In a way, it makes band stuff [seem] easy, as you can make a mistake and it is somewhat covered by the noise of the music. I have to be a lot more exacting on my own. Both mediums utilize well chosen words, though.

[ENS] I understand you have a new spoken work album called Spoken Word Guy. As a person who’s had a history being extremely critical of George W. Bush, how has your act changed, if at all, in the new post-Bush era?

[HR] The CD [was recorded] the night before the election actually. I don’t need Bush to make a show happen by any stretch. I probably have more problems with our new President as I expect more from him. Bush lowered my expectation level to such a degree that it bordered on apathy.

[ENS] You seem pretty angry in a lot of your spoken material with the present state of American society, criticizing everything from texting to reality TV to liquid cheese on nachos sold at arena rock shows. This anger with pop culture’s excesses and distractions seems present in a lot of what you’ve done in your career, all the way back to “T.V. Party” on Damaged in 1981, on which you and Black Flag criticized the apathy and laziness of T.V. culture. Do you feel like there’s been any change in the things that anger you in popular culture?

[HR] I think that at least some Americans are taking better care of themselves these days although I think that many of us live in a fairly insulated world. We are kept from the awfulness of war so it sells well, we don’t always get the hard facts on what’s happening in other parts of the world and that leads to a disconnect that I think is dangerous to our future. If you can’t readily find the place on the map, then don’t talk about bombing it.

[ENS] How do you feel about your place in the history of music? When you hear something like the Dirty Projectors’ Rise Above album, which interprets Black Flag songs in soft polyrhythmic folk, what is your attitude towards the various interpretations of your musical past? Do you have plans to produce more music in the future?

[HR] I don’t know if I have a place in music history. I was in Black Flag as the last of four singers and the Damaged album is the genius of [Greg] Ginn and [Chuck] Dukowski; I had nothing to do with it. So I feel fairly far removed from all of that. I have never heard the Dirty Projectors album. I have no music plans at present.

[ENS] You’ve spoken and written a lot about the experience of touring, including the book Get in the Van. You seem to have toured a lot throughout your career; your tour schedule right now seems pretty extensive as well. How has touring changed for you between your early days and now?

[HR] Things are better, more efficient now. I live better, which makes the shows better. I get real sleep and the nutrition intake is of high value. I wouldn’t want to tour like I used to these days; it wouldn’t make for consistent shows.

[ENS] You’ve had a history of activism and outspokenness regarding political and social issues, especially in relation to gay rights and the rights of veterans. Do you have any additional areas of interest these days?

[HR] I wish our government would come to some kind of agreement on healthcare for all Americans. I don’t think it’s going to happen though. That’s something I am keeping a close eye on, although it’s nothing I am involved with as I don’t think there’s anything to do but watch both houses [of Congress] drag things out.

[ENS] You seem to involve yourself in a lot of different mediums at once; film, television, writing, blogging, radio, spoken word, etc. Do you ever have the desire to focus solely on one means of expression, or is it essential for you to have several artistic balls in the air at once?

[HR] I always end up saying yes to a bunch of things; that’s how it happens. When I am off the road, working on a book edit, that’s a very focused pursuit. [Doing so much at once] is probably a way I dodge the fact that I am not all that good at any of it. It’s been interesting giving it all a shot though.

-interview by John Crowell