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I can understand the impulse to collect and organize images of Iggy’s body, to position it as an instructive artifact.Jarmusch isn’t alone in wanting a record of it, a chronology to parse and ponder.I cannot imagine how dangerous that dynamic must have seemed forty-odd years ago—“dangerous,” even, feels like too timid a word.When the Stooges released their eponymous début, in the summer of 1969, the most popular song in America was “Sugar, Sugar” by the Archies, a fake garage band composed of comic-book characters.

He’s on the stage, he’s off the stage, he’s barking, he’s curling up.Is it merely a relic of a time “before the miniaturization of electronics,” as the poet Frederick Seidel has put it?What I see now in the video, cueing up my hundredth viewing, is a little guy from Ypsilanti, Michigan, diligently externalizing some deep internal storm.His body has witnessed much and should be documented,” Deller said.Punk, maybe more than any other genre, is contingent upon the body.At other shows, during other songs, he would dig into the skin of his chest with bits of broken glass, divining little rivers of blood, crimson streaks that inched down his torso like chocolate syrup on a sundae. Sometimes, he’d take his dick out and gently set it atop a speaker. He was very well endowed,” Steve Harris, the former vice-president of Elektra Records, recalls in “Please Kill Me: The Uncensored Oral History of Punk,” by Legs Mc Neil and Gillian Mc Cain.) Iggy has since talked about those instances as acts of true reconciliation, in which the physical and the spiritual aligned, briefly: “Maybe you’ll be playing a tune and you really want to express the truth.