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In Greek mythology, Heracles is synonymous with Apollonian masculinity.

Masculinity is possessing qualities or characteristics considered typical of or appropriate to a man. The term can be used to describe any human, animal or object that has the quality of being masculine. When masculine is used to describe men, it can have degrees of comparison—more masculine, most masculine. The opposite can be expressed by terms such as unmanly or epicene.^[1] A typical near-synonym of masculinity is virility (from Latin vir, man);^[1] and the usual complement is femininity.^[1]

Constructs of masculinity vary across historical and cultural contexts. The dandy, for instance, was regarded as an ideal of masculinity in the 19th century, but is considered "effeminate" by modern standards.^[2]

Origins[link]

The bodybuilder is regarded as an ideal of masculinity.^[3] In this case, it is embodied by a woman.

The extent to which masculinity is due to socialization versus inborn factors has been the subject of much debate. Some have argued that it is based largely on biology as masculinity is inextricably linked with the male body. In this view, masculinity is something that is associated with the biological male sex and having male genitalia, for instance, is regarded as a natural aspect of masculinity.^[4] Others have suggested that while masculinity may be influenced by biological factors, it is also culturally constructed. As such, masculinity is not restricted to men and can, in fact, be female as women frequently display behavior, traits and physical attributes that are considered "masculine" in a given historical and social context.^[4] Proponents of this view point out that women can become men hormonally and physically^[5] and that many aspects that are assumed to be natural are linguistically and therefore culturally driven. Facial hair, for instance, has been linked to masculinity through language in such forms as stories about boys becoming men when they start to shave.^[6]

Masculinity does not have a single source of origin or creator such as the media, certain institutions, or certain groups of people. While the military, for example, has a vested interest in constructing and promoting a specific form of masculinity, it does not create it from scratch and masculinity has influenced the creation of the military in the first place.^[7]

History[link]

Ancient[link]

"a man's chief quality is courage." - Cicero

"Viri autem propria maxime est fortitudo." Cicero, Tusculanae Quaestiones, 1:11:18.</ref>

Ancient literature goes back to about 3000 BC. It includes both explicit statements of what was expected of men in laws, and implicit suggestions about masculinity in myths involving gods and heroes. In 1000 BCE, The Hebrew Bible states King David of Israel told his son "Be strong, and be a man" upon David's death. Men throughout history have gone to meet exacting cultural standards of what is considered attractive. Kate Cooper, writing about ancient understandings of femininity, suggests that, "Wherever a woman is mentioned a man's character is being judged – and along with it what he stands for."^[8] One well-known representative of this literature is the Code of Hammurabi (from about 1750 BC).

• Rule 3: "If any one bring an accusation of any crime before the elders, and does not prove what he has charged, he shall, if it be a capital offense charged, be put to death."
• Rule 128: "If a man takes a woman to wife, but has no intercourse with her, this woman is no wife to him."^[9]

Scholars suggest integrity and equality as masculine values in male-male relationships,^[10] and virility in male-female relationships. Legends of ancient heroes include: The Epic of Gilgamesh, the Iliad and the Odyssey. Such narratives are considered to reveal qualities in the hero that inspired respect, like wisdom or courage, the knowing of things that other men do not know and the taking of risks that other men would not dare.

Medieval[link]

Jeffrey Richards describes a European, "medieval masculinity which was essentially Christian and chivalric."^[11] Again ethics, courage and generosity are seen as characteristic of the portrayal of men (=niela) in literary history. Anglo Saxon Beowulf, Hengest and Horsa are famous examples of medieval ideals of masculinity.

Multiple Masculinities[link]

Masculinity is not a conscious process; it is perpetuated through social institutions and is interactionally enforced and policed. R.W. Connell introduced the idea of multiple masculinities, developing a concept that breaks down the general idea that there is only one category that every man fits into. She recognizes that there are intersectionalities and variations of masculinity based on race, location, culture, time period, age, ability, etc. Therefore, she developed four classifications: Hegemony, Subordination, Complicity, and Marginalization.

Hegemonic masculinity is the norm, something that men are expected to aspire to and that women are discouraged from associating with. “Hegemonic masculinity can be defined as the configuration of gender practice which embodies the currently accepted answer to the problem of the legitimacy of patriarchy, which guarantees the dominant position of men and the subordination of women.” (Connell, 2001) The military, top levels of businesses, and government agencies provide leading examples of this facet of masculinity within society. It is an expectation of what a “real man” should act and look like, but in reality no one can successfully achieve hegemony.

Connell's idea of hegemonic masculinity is not only seen in men but it is clear among young children in school as well. This concept invokes a leading way of doing gender relations that implements the gender order status quo by raising the general status of masculine qualities over feminine qualities. The idea of hegemonic masculinity in the context of young boys is used to re-create gender order in childhood play where the general ideas of men's dominance are learned and reinforced.

Subordinate masculinity is the cultural authority of hetersexual men and subordination of homosexual men. “Gayness” is viewed as the polar opposite of what masculinity entitles a man to be; therefore it is associated with femininity and is politically, economically, and culturally attacked. Heterosexual men view gay men in the same light that they view women, meaning that there is an innate need for dominance. This leads to the subordination of men who present their masculinity in the “wrong” way and are seen as having a failed hegemonic masculinity.

Complicit masculinity is the categorization of men who connect with hegemony but do not fully represent hegemonic masculinity. “A great many men who draw the patriarchal dividend also respect their wives and mothers, are never violent towards women, do their accustomed share of the housework, bring home the family wage, and can easily convince themselves that feminists must be bra-burning extremists.” (Connell, 2001) Men that fall into this category do not receive the same benefits and privileges as those who are seen as purely hegemonic.

Marginalized masculinity is the authorization of the hegemonic masculinity. Men who fall into this category benefit less from the hegemonic ideal because of traits other than their gender behavior. “Race relations may also become integral part of the dynamic between masculinities. In a white-supremacist context, black masculinities play symbolic roles for white gender construction.” (Connell, 2001) In other words, the hegemonic masculinity among whites maintains the oppression against the masculinity among blacks.

Though these concepts have been discussed in context to men, masculinity affects everyone. Both men and women can benefit from or be oppressed by the expectations of masculinity that are meant to be lived up to in society.

Masculine physical attributes[link]

During the first half of the twentieth century, men were often associated with images of industrialization

Some researchers argue that a large number^{[clarification needed]} of women are aroused mostly by broad chins and shoulders and high cheekbones, though there are cultural differences in those preferences, and arousal may be an indication of socialized notions of attractiveness. Other research suggests that women unconsciously recognize a sculpted physique as indicative of "masculine" discipline, focus and self-control.^{[citation needed]}

Biology and culture[link]

Some gender studies scholars will use the phrase "hegemonic masculinity" to refer to an ideal of male behavior which men are strongly encouraged to aim for, which is calculated to guarantee the dominant position of some men over others.

Western trends[link]

According to a paper submitted by Tracy Tylka to the American Psychological Association (APA), in contemporary America: "Instead of seeing a decrease in objectification of women in society, there has just been an increase in the objectification of both sexes. And you can see that in the media today." Men and women restrict their food intake in an effort to achieve what they consider an attractively thin body, in extreme cases leading to eating disorders.^[12] Thomas Holbrook, also a psychiatrist, cites a recent Canadian study indicating as many as one in six of those with eating disorders were men.^[13]

"Younger men and women who read fitness and fashion magazines could be psychologically harmed by the images of perfect female and male physiques," according to recent research in the United Kingdom. Some young women and men exercise excessively in an effort to achieve what they consider an attractively fit and muscular body, which in extreme cases can lead to body dysmorphic disorder or muscle dysmorphia.^[14][15][16]

Although the actual stereotypes may have remained relatively constant, the value attached to the masculine and feminine stereotypes have changed over the past few decades.

Those associated with recent work in the study of masculinity from a philosophical perspective view masculinity as an unstable phenomenon and never ultimately achieved.^[17]

Masculinity in decline[link]

There has been a recent uptick of books,^[18][19][20] articles and research studies documenting an endocrinological (or hormone) decline in the general male population. Recent analysis shows average testosterone levels receding in men of all ages.^[21] In addition, average sperm quality, quantity and even testicle size has seen a marked reduction.^[22] Although many theories are presented to why this is happening, from endocrine disruptors, to evolutionary biology,^[23] researchers ultimately concede the reason is still unknown.

Development[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (December 2007)

A construction worker.

A great deal is now known about the development of masculine characteristics and the process of sexual differentiation specific to the reproductive system of Homo sapiens. The SRY gene on the Y chromosome interferes with the process of creating a female, causing a chain of events that leads to testes formation, androgen production, and a range of both natal and post-natal hormonal effects. There is an extensive debate about how children develop gender identities.

In many cultures, displaying characteristics not typical to one's gender may become a social problem for the individual. Within sociology such labeling and conditioning is known as gender assumptions, and is a part of socialization to better match a culture's mores. Among men, some non-standard behaviors may be considered a sign of homosexuality, which frequently runs contrary to cultural notions of masculinity. When sexuality is defined in terms of object choice, as in early sexology studies, male homosexuality is interpreted as "feminine" sexuality. The corresponding social condemnation of excessive masculinity may be expressed in terms such as machismo or testosterone poisoning.

The relative importance of the roles of socialization and genetics in the development of masculinity continues to be debated. While social conditioning obviously plays a role, some^[who?] hold that certain aspects of the feminine and masculine identity exist in almost all human cultures, though this has not been thoroughly substantiated^{[citation needed]}.

The historical development of gender role is addressed by such fields as behavioral genetics, evolutionary psychology, human ecology, anthropology and sociology. All human cultures seem to encourage the development of gender roles, through literature, costume and song. Some examples of this might include the epics of Homer, Hengest and Horsa tales in English, the normative commentaries of Confucius. More specialized treatments of masculinity may be found in works such as the Bhagavad Gita or bushidō's Hagakure.

Another term for a masculine woman is butch, which is associated with lesbianism. Butch is also used within the lesbian community, without a negative connotation, but with a more specific meaning (Davis and Lapovsky Kennedy, 1989).

Downside and failure of concept[link]

It is a subject of debate whether masculinity concepts followed historically should still be applied. Researchers such as Care International have argued that there is a harmful downside due to considerations such as the following:

• The relationship between masculinity and gender-based violence^[24]
• The disempowerment and impoverishment of women and the persistence of gender inequalities through men’s violence^[24]
• The loss of men's dignity and self-esteem when they are taught to behave violently

The images of boys and young men presented in the media may lead to the persistence of harmful concepts of masculinity. Men's rights activists argue that the media does not pay serious attention to men's rights issues and that men are often portrayed in a negative light, particularly in advertising.^[25]

Pressures associated[link]

In 1987, Eisler and Skidmore did studies on masculinity and created the idea of 'masculine stress'. They found four mechanisms of masculinity that accompany masculine gender role often result in emotional stress. They include:

• The emphasis on prevailing in situations requiring body and fitness
• Being perceived as emotional
• The need to feel adequate in regard to sexual matters and financial status

Because of social norms and pressures associated with masculinity, Men with spinal cord injuries have to adapt their self identity to the losses associated with SCI which may “lead to feelings of decreased physical and sexual prowess with lowered self-esteem and a loss of male identity. Feelings of guilt and overall loss of control are also experienced.”^[26]

Masculinity is something that some fear is becoming increasingly challenged, especially in the last century, with the emergence of Women's rights and the development of the role of women in society. In recent years many 'Man Laws' and similar masculinist manifestos have been published, as a way for men to re-affirm their masculinity. A popular example is the Miller Lite Man Laws, and other various sites on the internet offering rules such as: "15. A real man does not need instruction manuals." ^[27] Although many of these rules are offered in a humorous fashion, they attempt to define masculinity, and indicate that proper gender is taught and performed rather than intuited.

Risk-taking[link]

The driver crash rate per vehicle miles driven is higher for women than for men; although, men are much more likely to cause deaths in the accidents they are involved in.^[28] Men drive significantly more miles than women, so, on average, they are more likely to be involved in motor vehicle accidents. Even in the narrow category of young (16-20) driver fatalities with a high blood alcohol content (BAC), a male's risk of dying is higher than a female's risk at the Same BAC level.^[29] That is, young women drivers need to be more drunk to have the same risk of dying in a fatal accident as young men drivers.

Men are three times more likely to die in all kinds of accidents than women. In the United States, men make up 92% of workplace deaths, indicating either a greater willingness to perform dangerous work, a societal expectation to perform this work, or that women are not hired for this work.^[30]

Health care[link]

A growing body of evidence is pointing toward the deleterious impact of masculinity (and hegemonic masculinity in particular) on men's health help-seeking behaviour.^[31] American men make 134.5 million fewer physician visits than American women each year. In fact, men make only 40.8% of all physician visits, that is, if women's visits for pregnancy are included, childbirth and associated obstetrical and gynecological visits. A quarter of the men who are 45 to 60 do not have a personal physician. Many men should go to annual heart checkups with physicians but do not, increasing their risk of death from heart disease. Men between the ages of 25 and 65 are four times more likely to die from cardiovascular disease than women. Men are more likely to be diagnosed in a later stage of a terminal illness because of their reluctance to go to the doctor.

Reasons men give for not having annual physicals and not visiting their physician include fear, denial, embarrassment, a dislike of situations out of their control, or not worth the time or cost.

Media encouragement[link]

According to Arran Stibbe (2004), men's health problems and behaviors can be linked to the socialized gender role of men in our culture. In exploring magazines, he found that they promote traditional masculinity and claims that, among other things, men's magazines tend to celebrate "male" activities and behavior such as admiring guns, fast cars, sexually libertine women, and reading or viewing pornography regularly. In men's magazines, several "ideal" images of men are promoted, and that these images may even entail certain health risks.

Alcohol consumption behavior[link]

Research on beer commercials by Strate (Postman, Nystrom, Strate, And Weingartner 1987; Strate 1989, 1990) and by Wenner (1991) show some results relevant to studies of masculinity. In beer commercials, the ideas of masculinity (especially risk-taking) are presented and encouraged. The commercials often focus on situations where a man is overcoming an obstacle in a group. The men will either be working hard or playing hard. For instance the commercial will show men who do physical labor such as construction workers, or farm work, or men who are cowboys. Beer commercials that involve playing hard have a central theme of mastery (over nature or over each other), risk, and adventure. For instance, the men will be outdoors fishing, camping, playing sports, or hanging out in bars. There is usually an element of danger as well as a focus on movement and speed. This appeals to and emphasizes the idea that real men overcome danger and enjoy speed (i.e. fast cars/driving fast). The bar serves as a setting for the measurement of masculinity (skills like pool, strength and drinking ability) and serves as a center for male socializing.

Traditional masculinity[link]

Traditional avenues for men to gain honor were that of providing adequately for their families and exercising leadership.^[32] The traditional family structure consisted of the father as the bread-winner and the mother as the homemaker. During World War II, women entered the workforce in droves to replace the soldiers who were sent overseas. While some returned home to resume their positions as homemakers if their husbands survived the war, others remained in the workplace. Over the decades since, women have risen to high political and corporate positions. This shift has caused an increase in women becoming the primary income-earners and men the primary care-givers^[32]—a process author Jeremy Adam Smith calls "the daddy shift" in his 2009 book of that title.^[33] As of 2007, 159,000 dads were primary care-givers and this number is increasing.^[34] Dubbed stay-at-home dads, these men are performing duties in the home which are not being done by women. Regardless of age or nationality, men more frequently rank good health, harmonious family life and good relationships with their spouse or partner as important to their quality of life.^[35]

See also[link]

• Emasculation
• Model of masculinity under fascist Italy
• Victorian masculinity
• Hypermasculinity
• Masculism
• Men's spaces
• International Men's Day
• Male bonding
• Masculine psychology
• Raewyn Connell

Books[link]

• Manliness (book) (2006)

References[link]

Notes

Bibliography

• Reeser, Todd W. (2010). Masculinities in theory: an introduction. Malden, MA: Wiley-Blackwell. ISBN 978-1-4051-6859-5. 
• Connell, R.W. (2001). "3". The Social Organization of Masculinity. Berkeley and Los Angeles, California: Polity. ISBN 978-0-520-24698-0. 
• Levine, Martin P. (1998). Gay Macho. New York: New York University Press. ISBN 0-8147-4694-2.
• Stibbe, Arran. (2004). "Health and the Social Construction of Masculinity in Men's Health Magazine." Men and Masculinities; 7 (1) July, pp. 31–51.
• Strate, Lance "Beer Commercials: A Manual on Masculinity" Men's Lives Kimmel, Michael S. and Messner, Michael A. ed. Allyn and Bacon. Boston, London: 2001

Further reading[link]

Present situation

• Arrindell, Willem A., Ph.D. (1 October 2005) "Masculine Gender Role Stress" Psychiatric Times Pg. 31
• Ashe, Fidelma (2007) The New Politics of Masculinity, London and New York: Routledge.
• Broom A. and Tovey P. (Eds) Men’s Health: Body, Identity and Social Context London; John Wiley and Sons Inc.
• Burstin, Fay "What's Killing Men". Herald Sun (Melbourne, Australia). October 15, 2005.
• Canada, Geoffrey "Learning to Fight" Men's Lives Kimmel, Michael S. and Messner, Michael A. ed. Allyn and Bacon. Boston, London: 2001
• Raewyn Connell: Masculinities (as Robert W. Connell), Cambridge: Polity Press, 1995 ISBN 0-7456-1469-8
• Courtenay, Will "Constructions of masculinity and their influence on men's well-being: a theory of gender and health" Social Science and Medicine, yr: 2000 vol: 50 iss: 10 pg: 1385–1401
• bell hooks, We Real Cool: Black Men and Masculinity, Taylor & Francis 2004, ISBN 0-415-96927-1
• Galdas P.M. and Cheater F.M. (2010) Indian and Pakistani men’s accounts of seeking medical help for angina and myocardial infarction in the UK: Constructions of marginalised masculinity or another version of hegemonic masculinity? Qualitative Research in Psychology
• Levant & Pollack (1995) A New Psychology of Men, New York: BasicBooks
• Juergensmeyer, Mark (2005): Why guys throw bombs. About terror and masculinity (pdf)
• Kaufman, Michael "The Construction of Masculinity and the Triad of Men's Violence". Men's Lives Kimmel, Michael S. and Messner, Michael A. ed. Allyn and Bacon. Boston, London: 2001
• Mansfield, Harvey. Manliness. New Haven: Yale University Press, 2006. ISBN 0-300-10664-5
• Reeser, T. Masculinities in Theory, Malden: Wiley-Blackwell, 2010.
• Robinson, L. (October 21, 2005). Not just boys being boys: Brutal hazings are a product of a culture of masculinity defined by violence, aggression and domination. Ottawa Citizen (Ottawa, Ontario).
• Stephenson, June (1995). Men are Not Cost Effective: Male Crime in America. ISBN 0-06-095098-6
• Walsh, Fintan. Male Trouble: Masculinity and the Performance of Crisis. Basingstoke and New York: Palgrave Macmillan, 2010.
• Williamson P. "Their own worst enemy" Nursing Times: 91 (48) 29 November 95 p 24–7
• Wray Herbert "Survival Skills" U.S. News & World Report Vol. 139, No. 11; Pg. 63 September 26, 2005
• "Masculinity for Boys"; published by UNESCO, New Delhi, 2006;
• Smith, Bonnie G., Hutchison, Beth. Gendering Disability. Rutgers University Press, 2004.

History

• Michael Kimmel, Manhood in America, New York [etc.]: The Free Press 1996
• A Question of Manhood: A Reader in U.S. Black Mens History and Masculinity, edited by Earnestine Jenkins and Darlene Clark Hine, Indiana University press vol1: 1999, vol. 2: 2001
• Gary Taylor, Castration: An Abbreviated History of Western Manhood, Routledge 2002
• Klaus Theweleit, Male fantasies, Minneapolis : University of Minnesota Press, 1987 and Polity Press, 1987
• Peter N. Stearns, Be a Man!: Males in Modern Society, Holmes & Meier Publishers, 1990
• Shuttleworth, Russell. "Disabled Masculinity." Gendering Disability. Ed. Bonnie G. Smith and Beth Hutchison. Rutgers University Press, New Brunswick, New Jersey, 2004. 166-178.

External links[link]

Wikiquote has a collection of quotations related to: Masculinity

Look up masculinity in Wiktionary, the free dictionary.

Bibliographic

• The Men's Bibliography, a comprehensive bibliography of writing on men, masculinities, gender and sexualities, listing over 16,700 works. (mainly from a constructionist perspective)
• Boyhood Studies, features a 2200+ bibliography of young masculinities.

Other

• Practical Manliness, A manly blog that applies "historical ideals to modern men".
• The ManKind Project of Chicago, supporting men in leading meaningful lives of integrity, accountability, responsibility, and emotional intelligence
• NIMH web pages on men and depression, talks about men and their depression and how to get help.
• Article entitled "Wounded Masculinity: Parsifal and The Fisher King Wound" The symbolism of the story as it relates to the Wounded Masculinity of Men by Richard Sanderson M.Ed., B.A.
• BULL, Print and online literary journal specializing in masculine fiction for a male audience.
• Art of Manliness, An online web magazine/blog dedicated to "reviving the lost art of manliness".
• The Masculinity Conspiracy, An online book critiquing constructions of masculinity.

v t e Masculism Men · Masculinity Concepts/subjects Men's movement · Theory · Men's rights · Fathers' rights · Gender equality (Gender inequality) Men and feminism (Pro-feminism · Anti-feminism) · Men's liberation  · Mythopoetic men's movement By country Men's rights India Fathers' rights Australia · Italy · United Kingdom · United States See also Masculism Topics · International Men's Day · Men's studies · Men's health risks · Violence against men Masculism (men's rights) portal

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2007)

The Crisis

First Issue of The Crisis: A Record of the Darker Races, November 1910. New York: NAACP, 1910
Editor	W.E.B. Du Bois
Staff writers	Oswald Garrison Villard, J. Max Barber, Charles Edward Russell, Kelly Miller, W.S. Braithwaite, M. D. Maclean
Monthly[1]
Publisher	NAACP
First issue	November 1910 (1910-November)
Company	The Crisis Publishing Company
Country	United States
Based in	New York, NY
Language	English
Website	www.thecrisismagazine.com
ISSN	1559-1573

The Crisis is the official magazine of the National Association for the Advancement of Colored People (NAACP), and was founded in 1910 by W. E. B. Du Bois (editor), Oswald Garrison Villard, J. Max Barber, Charles Edward Russell, Kelly Miller, W.S. Braithwaite, M. D. Maclean.^[2]

The original title of the journal was The Crisis: A Record of The Darker Races. From 1997 to 2003, it appeared as The New Crisis: The Magazine of Opportunities and Ideas, but the title has since reverted to The Crisis. The title derives from the poem "The Present Crisis" by James Russell Lowell.^[1] Published monthly, by 1920 its circulation had reached 100,000 copies. Du Bois proclaimed his intentions in his first editorial:

The object of this publication is to set forth those facts and arguments which show the danger of race prejudice, particularly as manifested today toward colored people. It takes its name from the fact that the editors believe that this is a critical time in the history of the advancement of men. …Finally, its editorial page will stand for the rights of men, irrespective of color or race, for the highest ideals of American democracy, and for reasonable but earnest and persistent attempts to gain these rights and realize these ideals.^[3]

Predominantly a current-affairs journal, The Crisis also included poems, reviews, and essays on culture and history. Du Bois' initial position as editor was in line with the NAACP's liberal programme of social reform and racial equality, but by the 1930s Du Bois was advocating a form of black separatism. This led to disputes between Du Bois and the NAACP resulting in his resignation as editor in 1934. He was replaced by Roy Wilkins.

Although The Crisis was officially an organ of the NAACP, Du Bois had a large degree of control over the periodicals expressed opinion. Du Bois wrote in Dusk of Dawn that he intended for The Crisis to represent his personal opinions:

I determine to make the opinion of the Crisis a personal opinion; because, as I argued, no organization can express definite and clear cut opinions… the Crisis would state openly the opinion of its editor, so long, of course, as that opinion was in general agreement with that of the organization.

Du Bois contends that the periodical suffered during the Great Depression as the "circulation dropped steadily until by 1933 it was scarcely more than ten thousand paid subscriptions." Du Bois left the magazine for both financial and ideological reasons.

Throughout the Du Bois years The Crisis published the work of many young African American writers associated with the Harlem Renaissance. Its greatest era as a literary journal was between 1919 and 1926, when Jessie Redmon Fauset was literary editor. Fauset encouraged such writers as Arna Bontemps, Langston Hughes, Countee Cullen and Jean Toomer.

Following the departure of Fauset and Du Bois, the influence of The Crisis declined. The magazine was unable to sustain the high literary standards it had achieved under Fauset, but it continued to have a powerful political voice.

References[link]

A 1911 copy of The Crisis depicting "Ra-Maat-Neb, one of the black kings of the Upper Nile", a copy of the relief of Nebmaatre I on Meroe pyramid 17.

Du Bois, WEB (1940), Dusk of Dawn, Library of America, ISBN [[Special:BookSources/97809400450332|97809400450332]] .

Partington, Paul, The Moon Illustrated Weekly: Black America's First Weekly Magazine, ISBN 978-0-9602538-2-1 .

External links[link]

• The Crisis, http://www.thecrisismagazine.com/ .
• History, NAACP, http://www.naacp.org/about/history/ .
• The Crisis, Footnote, January 1918, http://www.footnote.com/browsemore/179488128_Boom%20and%20Bust:%201920-1935/ .
• The Crisis, Books, Google, http://www.google.com/search?tbs=bks%3A1&tbo=1&q=The+Crisis+Magazine&btnG=Search+Books#q=The+Crisis+Magazine&hl=en&tbo=1&tbs=bks:1,bkt:m&source=lnt&sa=X&ei=TrrMTILMLJG4sQPMn9CPDg&ved=0CBMQpwU&fp=fd2e97bdff999388 .
• The Crisis, 1, 10–23, The Modernist Journals Project, Nov. 1910 – Apr. 1911, May 1915 – Apr. 1922, http://www.modjourn.org/render.php?view=mjp_object&id=crisiscollection .

Henry Rollins
Rollins performing in 2006
Born	Henry Lawrence Garfield (1961-02-13) February 13, 1961 (age 51) Washington, D.C., U.S.
Nationality	American
Occupation	Spoken word artist
Years active	1980–present
Known for	Musician, Spoken word artist
Website
21361.com

Henry Rollins (born 13 February 1961) is an American spoken word artist, writer, journalist, publisher, actor, comedian, radio DJ, activist and formerly singer-songwriter.

After performing for the short-lived Washington D.C.-based band State of Alert in 1980, Rollins fronted the California hardcore punk band Black Flag from August 1981 until mid-1986. Following the band's breakup, Rollins established the record label and publishing company 2.13.61 to release his spoken word albums, as well as forming the Rollins Band, which toured with a number of lineups from 1987 until 2003, and during 2006.

Since Black Flag disbanded, Rollins has hosted numerous radio shows, such as Harmony in My Head on Indie 103, and television shows such as The Henry Rollins Show, MTV's 120 Minutes, and Jackass. He had a recurring dramatic role in the second season of Sons of Anarchy and has also had roles in several films. Rollins has also campaigned for various political causes in the United States, including promoting LGBT rights, World Hunger Relief, and an end to war in particular, and tours overseas with the United Service Organizations to entertain American troops.^[1]

Rollins stated in a 1998 interview with NY Rock, "I don't want a wife and I don't want kids. I'm 36 and if I met a woman of my own age and married her, I'd also be marrying her former life, her past."^[2] Rollins dated fellow KCRW-DJ Liza Richardson.^[3] Rollins has been close friends with musician Ian MacKaye since childhood.^[4]

Early life[link]

Born Henry Lawrence Garfield in Washington, D.C., the only child of Iris, a federal employee in the health and education sectors, and Paul J. Garfield, from Milwaukee, Wisconsin, who was a World War II veteran and Economist with a "Ph.D. in economics".^[5][6] When he was two years old, his parents divorced and he was raised by his mother in the affluent Glover Park neighborhood of the city.^[7][8]

As a child and teenager, Rollins suffered from depression and low self-esteem.^[9] In the fourth grade, he was diagnosed with hyperactivity and took Ritalin for several years so that he could focus during school. His mother taught him how to read before he was enrolled in kindergarten;^[10] however, due to "bad grades, bad attitude, poor conduct," he was soon enrolled at The Bullis School, then an all-male preparatory school in Potomac, Maryland.

According to Rollins, the Bullis School helped him to develop a sense of discipline and a strong work ethic.^[9] It was at Bullis that he began writing; his early literary efforts were mainly short stories about "blowing up my school and murdering all the teachers."^[10]; "it was a very rough upbringing in a lot of other ways. I accumulated a lot of rage by the time I was seventeen or eighteen." He has also mentioned that a "Ramones" concert helped shape his thoughts on music into becoming the musician he is today.

Music career[link]

State of Alert[link]

After high school, Rollins attended American University in Washington D.C. for one semester, but dropped out in December 1979.^[11] He began working minimum-wage jobs, including a job as a courier for liver samples at the National Institutes of Health.^[12] Rollins got into punk rock after he and his friend Ian MacKaye procured a copy of The Ramones's eponymous debut album; he later described it as a "revelation." From 1979 to 1980, Rollins was working as a roadie for Washington bands, including Teen Idles. When the band's singer Nathan Strejcek failed to appear for practice sessions, Rollins convinced the Teen Idles to let him sing. Word of Rollins's ability spread around the punk rock scene in Washington; Bad Brains singer H.R. would sometimes get Rollins on stage to sing with him.^[13]

In 1980, the Washington punk band The Extorts lost their frontman Lyle Preslar to Minor Threat. Rollins joined the rest of the band to form State of Alert, and became its frontman and vocalist. He put words to the band's five songs and wrote several more. S.O.A. recorded their sole EP, No Policy, and released it in 1981 on MacKaye's Dischord Records.^[14] S.O.A. disbanded after a total of a dozen concerts and one EP. Rollins had enjoyed being the band's frontman, and had earned a reputation for fighting in shows. He later said: "I was like nineteen and a young man all full of steam [...] Loved to get in the dust-ups." By this time, Rollins had become the manager of the Georgetown Häagen-Dazs ice cream store; his steady employment had helped to finance the S.O.A. EP.^[15]

Black Flag[link]

In 1980, a friend gave Rollins and MacKaye a copy of Black Flag's Nervous Breakdown EP. Rollins soon became a fan of the band, exchanging letters with bassist Chuck Dukowski and later inviting the band to stay in his parents' home when Black Flag toured the East Coast in December 1980.^[16] When Black Flag returned to the East Coast in 1981, Rollins attended as many of their concerts as he could. At an impromptu show in a New York bar, Black Flag's vocalist Dez Cadena allowed Rollins to sing "Clocked In", as Rollins had a five-hour drive back to Washington, D.C., to return to work after the performance.^[17]

Unbeknownst to Rollins, Cadena wanted to switch to guitar, and the band was looking for a new vocalist.^[17] The band was impressed with Rollins' singing and stage demeanor, and the next day, after a semi-formal audition at Tu Casa Studio in NYC, they asked him to become their permanent vocalist. Despite some doubts, he accepted, in part because of MacKaye's encouragement. His high level of energy and intense personality suited the band's style, but Rollins' diverse tastes in music were a key factor in his being selected as singer; Black Flag's founder Greg Ginn was growing restless creatively and wanted a singer who was willing to move beyond simple, three-chord punk.^[18]

After joining Black Flag in 1981, Rollins quit his job at Häagen-Dazs, sold his car, and moved to Los Angeles, California. Upon arriving in Los Angeles, Rollins got the Black Flag logo tattooed on his left biceps^[12] and changed his surname from Garfield to Rollins, a surname he and MacKaye had used as teenagers.^[18] Rollins was in a different environment in Los Angeles; the police soon realized he was a member of Black Flag, and he was hassled as a result. Rollins later said: "That really scared me. It freaked me out that an adult would do that. [...] My little eyes were opened big time."^[19]

Before concerts, as the rest of the band tuned up, Rollins would stride about the stage dressed only in a pair of black shorts, grinding his teeth; to focus before the show, he would squeeze a pool ball.^[20] His stage persona impressed several critics; after a 1982 show in Anacortes, Washington, Sub Pop critic Calvin Johnson wrote: "Henry was incredible. Pacing back and forth, lunging, lurching, growling; it was all real, the most intense emotional experiences I have ever seen."^[21]

By 1983, Rollins' stage persona was increasingly alienating him from the rest of Black Flag. During a show in England, Rollins assaulted a member of the audience; Ginn later scolded Rollins, calling him a "macho asshole."^[22] A legal dispute with Unicorn Records held up further Black Flag releases until 1984, and Ginn was slowing the band's tempo down so that they would remain innovative. In August 1983, guitarist Dez Cadena had left the band; a stalemate lingered between Dukowski and Ginn, who wanted Dukowski to leave, before Ginn fired Dukowski outright.^[23] 1984's heavy metal music-influenced My War featured Rollins screaming and wailing throughout many of the songs; the band's members also grew their hair to confuse the band's hardcore punk audience.^[24]

Black Flag's change in musical style and appearance alienated many of their original fans, who focused their displeasure on Rollins by punching him in the mouth, stabbing him with pens, or scratching him with their nails, among other methods. He often fought back, dragging audience members on stage and assaulting them. Rollins became increasingly alienated from the audience; in his tour diary, Rollins wrote "When they spit at me, when they grab at me, they aren't hurting me. When I push out and mangle the flesh of another, it's falling so short of what I really want to do to them."^[25] During the Unicorn legal dispute, Rollins had started a weight-lifting program, and by their 1984 tours, he had become visibly well-built; journalist Michael Azerrad later commented that "his powerful physique was a metaphor for the impregnable emotional shield he was developing around himself."^[24] Rollins has since replied that "no, the training was just basically a way to push myself."^[26]

Rollins Band and solo releases[link]

Rollins performing with the Rollins Band in 1993

Before Black Flag disbanded in August 1986, Rollins had already toured as a solo spoken word artist.^[27] He released two solo records in 1987, Hot Animal Machine, a collaboration with guitarist Chris Haskett, and Drive by Shooting, recorded as "Henrietta Collins and the Wifebeating Childhaters";^[28] Rollins also released his second spoken word album, Big Ugly Mouth in the same year. Along with Haskett, Rollins soon added Andrew Weiss and Sim Cain, both former members of Ginn's side-project Gone, and called the new group Rollins Band. The band toured relentlessly,^[29] and their 1987 debut album, Life Time, was quickly followed by the outtakes and live collection Do It. The band continued to tour throughout 1988; 1989 marked the release of another Rollins Band album, Hard Volume.^[30] Another live album, Turned On, and another spoken word release, Live at McCabe's, followed in 1990.

Rollins and Weiss released Fast Food For Thought, an EP by their one-off side project Wartime in 1990. It was sonically in many ways more reminiscent of Weiss's work with Ween than the Rollins Band. The music, while heavy and driving, had a distinctly psychedelic bent, culminating in the final track, a cover of "Franklin's Tower" by The Grateful Dead. Early pressings were simply credited to "Wartime" while later releases added the phrase "featuring Henry Rollins" to the cover.

1991 saw the Rollins Band sign a distribution deal with Imago Records and appear at the Lollapalooza festival; both improved the band's presence. However, in December 1991, Rollins and his best friend Joe Cole were accosted by two armed robbers outside Rollins's home. Cole was murdered by a gunshot to the head, Rollins escaped without injury but police initially suspected him in the murder and detained him for ten hours.^[31] Although traumatized by Cole's death, as chronicled in his book Now Watch Him Die, Rollins continued to release new material; the spoken-word album Human Butt appeared in 1992 on his own record label, 2.13.61. The Rollins Band released The End of Silence, Rollins's first charting album.^[30]

The following year, Rollins released a spoken-word double album, The Boxed Life.^[32] The Rollins Band embarked upon the End of Silence tour; bassist Weiss was fired towards its end and replaced by funk and jazz bassist Melvin Gibbs. According to critic Steve Huey, 1994 was Rollins's "breakout year".^[30] The Rollins Band appeared at Woodstock 94 and released Weight, which ranked on the Billboard Top 40. Rollins released Get in the Van: On the Road with Black Flag, a double-disc set of him reading from his Black Flag tour diary of the same name; he won the Grammy for Best Spoken Word Recording as a result. Rollins was named 1994's "Man of the Year" by the American men's magazine Details and became a contributing columnist to the magazine. With the increased exposure, Rollins made several appearances on American music channels MTV and VH1 around this time, and made his Hollywood film debut in 1994 in The Chase playing a police officer.^[33]

In 1995, the Rollins Band's record label, Imago Records, declared itself bankrupt. Rollins began focusing on his spoken word career. He released Everything, a recording of a chapter of his book Eye Scream with free jazz backing, in 1996. He continued to appear in various films, including Heat, Johnny Mnemonic and Lost Highway. The Rollins Band signed to Dreamworks Records in 1997 and soon released Come in and Burn, but it did not receive as much critical acclaim as their previous material. Rollins continued to release spoken-word book readings, releasing Black Coffee Blues in the same year. In 1998, Rollins released Think Tank, his first set of non-book-related spoken material in five years.

By 1998, Rollins felt that the relationship with his backing band had run its course, and the line-up disbanded. He had produced a Los Angeles hard rock band called Mother Superior, and invited them to form a new incarnation of the Rollins Band. Their first album, Get Some Go Again, was released two years later. The Rollins Band released several more albums, including 2001's Nice and 2003's Rise Above: 24 Black Flag Songs to Benefit the West Memphis Three. After 2003, the band became inactive as Rollins focused on radio and television work. During a 2006 appearance on Tom Green Live!, Rollins stated that he "may never do music again"^[34] a feeling which he reiterated in 2011 when talking to Trebuchet magazine.^[35] In an interview with Culture Brats, Henry admitted he had sworn off music for good - "... and I must say that I miss it every day. I just don't know honestly what I could do with it that's different." ^[36]

Musical style[link]

As a vocalist, Rollins has adopted a number of styles through the years. Rollins was initially noted in the Washington, D.C. hardcore scene for what journalist Michael Azerrad described as a "compelling, raspy howl".^[13] With State of Alert, Rollins "spat out the lyrics like a bellicose auctioneer".^[15] He adopted a similar style after joining Black Flag in 1981. By their album Damaged however, Black Flag began to incorporate a swing beat into their style; Rollins then abandoned his S.O.A. "bark" and adopted the band's swing.^[37] Rollins later explained: "What I was doing kind of matched the vibe of the music. The music was intense and, well, I was as intense as you needed."^[38]

In both incarnations of the Rollins Band, Rollins combined spoken word with his traditional vocal style in songs such as "Liar" (the song begins with a one minute spoken diatribe by Rollins), as well as barking his way through songs (such as "Tearing" and "Starve") and employing the loud-quiet dynamic. Rolling Stone's Anthony DeCurtis names Rollins a "screeching hate machine" and his "hallmark" as "the sheets-of-sound assault".^[39]

With the Rollins Band, his lyrics focused "almost exclusively on issues relating to personal integrity," according to critic Geoffrey Welchman.^[40]

As producer[link]

In the 1980s, Henry Rollins produced an album of acoustic songs for the convicted murderer Charles Manson titled Completion. The record was supposed to be released by SST Records, but the project was later canceled due to the label receiving death threats for working with Manson. Only five test presses of Completion were pressed, two of which remain in Rollins' possession.^[41]

Media work[link]

Television[link]

As Rollins rose to prominence with the Rollins Band, he began to present and appear on television. These included Alternative Nation and MTV Sports in 1993 and 1994 respectively. 1995 saw Rollins appear on an episode of Unsolved Mysteries that explored the murder of his best friend Joe Cole^[42] and present State of the Union Undressed on Comedy Central. Rollins began to present and narrate VH1 Legends in 1996.^[43] Rollins, busy with the Rollins Band, did not present more programs until 2001, but made appearances on a number of other television shows, including Welcome to Paradox in 1998 in the episode "All Our Sins Forgotten", as a therapist that develops a device that can erase the bad memories of his patients. Rollins also voiced Mad Stan in Batman Beyond in 1999 and 2000.^[44][45] He also did the voice in Apple's 1999 G4 Cube Ad with Jimi Hendrix's "Purple Haze" playing as the theme song.

Rollins was a host of film review programme Henry's Film Corner on the Independent Film Channel, before presenting the weekly The Henry Rollins Show on the channel. The Henry Rollins Show is now being shown weekly on Film24 along with Henry Rollins Uncut. The show also lead to a promotional tour in Europe that led to Henry being dubbed a “bad boy goodwill ambassador” by a NY reviewer.^[46]

2002 saw Rollins guest star on an episode of the sitcom The Drew Carey Show as a man whom Oswald would find on eBay and pay to come to his house and kick his ass. He co-hosted the British television show Full Metal Challenge, in which teams built vehicles to compete in various driving and racing contests, from 2002–2003 on Channel 4 and TLC. He has made a number of cameo appearances in television series such as MTV's Jackass and an episode of Californication, where he played himself hosting a radio show.^[47] In 2006, Rollins appeared in a documentary series by VH1 and The Sundance Channel called The Drug Years.^[48]

Rollins appears in FX's Sons of Anarchy's second season, which premiered in the fall of 2009 in the United States. Rollins plays A.J. Weston, a white-supremacist gang leader and new antagonist in the show's fictional town of Charming, California, who poses a deadly threat to the Sons of Anarchy Motorcycle Club.^[49]

Rollins was a voice actor in the animated Batman Beyond: Return of the Joker and voiced Robotman (Cliff Steele)^[50] in two episodes of Batman: The Brave and the Bold.

Rollins was also interviewed in the National Geographic series Explorer "Born To Rage". He was interviewed regarding his possible link to the MAO gene (Warrior gene) and violent behavior.^[51]

Rollins has done voice over work for Verizon Wireless and Infiniti luxury automobiles (2011).^[52]

Radio[link]

On May 19, 2004, Rollins began hosting a weekly radio show, Harmony in My Head, on Indie 103.1 radio in Los Angeles. The show aired every Monday evening, with Rollins playing music ranging from early rock and jump blues to hard rock, blues rock, folk rock, punk rock, heavy metal and rockabilly, and touching on hip hop, jazz, world music, reggae, classical music and more. Harmony In My Head often emphasizes B-sides, live bootlegs and other rarities, and nearly every episode has featured a song either by the Beastie Boys or British group The Fall.

Rollins put the show on a short hiatus to undertake a spoken-word tour in early 2005. Rollins posted playlists and commentary on-line; these lists were expanded with more information and published in book form as Fanatic! through 2.13.61 in November 2005. In late 2005, Rollins announced the show's return and began the first episode by playing the show's namesake Buzzcocks song. As of 2008, the show continues each week despite Rollins's constant touring with new pre-recorded shows between live broadcasts. In 2009 Indie 103.1 went off the air, although it continues to broadcast over the Internet.

In 2007 Rollins published Fanatic! Vol. 2 through 2.13.61. Fanatic! Vol. 3 was released in the fall of 2008.

On February 18, 2009, KCRW announced that Rollins would be hosting a live show on Saturday nights starting March 7, 2009.^[53]

In 2011 Rollins was interviewed on Episode 121 of American Public Media's podcast, "The Dinner Party Download", posted on November 3, 2011.

Film[link]

Rollins began his film career appearing in several independent films featuring the band Black Flag. His film debut was in 1982's The Slog Movie, about the West Coast punk scene.^[54] An appearance in 1985's Black Flag Live followed. Rollins' first film appearance without Black Flag was the short film The Right Side of My Brain with Lydia Lunch in 1985.^[55] Following the band's breakup, Rollins did not appear in any films until 1994's The Chase. Rollins appeared in the 2007 direct-to-DVD sequel to Wrong Turn (2003), Wrong Turn 2: Dead End as a retired Marine Corps officer who hosts his own show which tests the contestants' will to survive. Rollins has also appeared in Punk: Attitude, a documentary on the punk scene, and in American Hardcore (2006).

Some feature length movies Henry Rollins has appeared in include:

• Kiss Napoleon Goodbye (1990), with Lydia Lunch and Don Bajema.
• The Chase (1994), with Charlie Sheen.
• Johnny Mnemonic (1995), with Keanu Reeves, Ice T and Dolph Lundgren.
• Heat (1995), with Al Pacino, Robert De Niro and Val Kilmer.
• Lost Highway (1997), with Bill Pullman and Patricia Arquette. Directed by David Lynch.
• Jack Frost (1998), with Michael Keaton.
• Batman Beyond: Return of the Joker (2000), with Kevin Conroy and Mark Hamill
• Morgan's Ferry (2001), with Billy Zane and Kelly McGillis.
• Dogtown and Z-Boys (2001 documentary)
• Scenes of the Crime (2001), with Jeff Bridges.
• The New Guy (2002), with Tommy Lee and DJ Qualls.
• Jackass The Movie (2002) with Johnny Knoxville and Bam Margera.
• Jackass Number Two (2006) with Preston Lacy, Steve-O, and Chris Pontius.
• Bad Boys 2 (2003), with Will Smith and Martin Lawrence.
• Feast (2005), with Balthazar Getty and Navi Rawat.
• The Alibi (2006)
• Wrong Turn 2: Dead End (2007)
• The Devil's Tomb (2009)
• H for Hunger (2009 documentary)
• William Shatner's Gonzo Ballet (2009 documentary)
• Green Lantern: Emerald Knights (2011) as Kilowog

Books and Audiobooks[link]

Rollins has written a series of books based on his travel journals referred to as the Black Coffee Blues trilogy. They include the namesake book, Black Coffee Blues, Do I Come Here Often?, The First Five and Smile, You're Traveling. Others include See a Grown Man Cry, Now Watch Him Die, Get in the Van, Eye Scream, Broken Summers, Roomanitarian, and Solipsist.

For the audiobook version of the 2006 novel World War Z Rollins voiced the character of T. Sean Collins, a mercenary hired to protect celebrities during a mass panic caused by an onslaught of the undead. Rollins' other audiobook recordings include 3:10 to Yuma and his own autobiographical book Get in the Van, for which he won a Grammy Award.

Online Journalism[link]

In September 2008 Rollins began contributing to the "Politics & Power" blog at the online version of Vanity Fair magazine.^[56] Since March 2009 his posts have appeared under their own sub-title, Straight Talk Espresso.^[57] His posts consistently direct harsh criticism at conservative politicians and pundits, although he does occasionally target the left wing as well. In August 2010 he began writing a music column for the LA Weekly, an alternative newspaper in Los Angeles.^[58]

Spoken Word[link]

Rollins also has toured doing spoken word performances which range from stand up comedy to more introspective commentaries on his childhood, such as the death of his friend, Joe Cole. He also speaks about experiences he's had with eccentric people. Rollins' spoken word style varies greatly, ranging from intense commentaries on society to playful, sometimes vulgar, anecdotes.

Campaigning and activism[link]

Rollins signing an autograph while on a United Service Organizations tour in Iraq in 2006.

Rollins has become an outspoken human rights activist, most vocally for gay rights. Rollins frequently speaks out on social justice on his spoken word tours and promotes equality, regardless of sexuality.^[59] He was the host of the WedRock benefit concert, which raised money for a pro-gay-marriage organization.

During the 2003 Iraq War, he started touring with the United Service Organizations to entertain troops overseas while remaining against the war, leading him to once cause a stir at a base in Kyrgyzstan when he told the crowd: "Your commander would never lie to you. That's the vice president's job."^[60] Rollins believes it is important that he performs to the troops so that they have multiple points of contact with the rest of the world, stating that, "they can get really cut loose from planet earth".^[61] He has made 8 tours, including visits to bases in Kuwait, Iraq, Kyrgyzstan, Afghanistan (twice), Egypt, Turkey, Qatar, Honduras, Japan, Korea and the United Arab Emirates.^[62] He has also been active in the campaign to free the "West Memphis Three"—three young men believed by their supporters to have been wrongfully convicted of murder. Rollins appears with Public Enemy frontman Chuck D on the Black Flag song "Rise Above" on the benefit album Rise Above: 24 Black Flag Songs to Benefit the West Memphis Three, the first time Rollins had performed Black Flag's material since 1986.^[63]

Continuing his activism on behalf of troops and veterans, Rollins joined Iraq and Afghanistan Veterans of America (IAVA) in 2008 to launch a groundbreaking national public service advertisement campaign, CommunityofVeterans.org, which helps veterans coming home from war reintegrate into their communities. In April 2009, Rollins helped IAVA launch the second phase of the campaign which engages the friends and family of Iraq and Afghanistan veterans at SupportYourVet.org.

On December 3, 2009, Rollins wrote of his support for the victims of the Bhopal disaster in India, in an article for Vanity Fair^[64] 25 years – to the day – after the methyl isocyanate gas leak from the Union Carbide Corporation's pesticide factory exposed more than half a million local people to poisonous gas and resulted in the death of 17,000. He spent time in Bhopal with the people, to listen to their stories. In a later radio interview in February 2010^[65] Rollins summed-up his approach to activism, "This is where my anger takes me, to places like this, not into abuse but into proactive, clean movement".^[66]

Works[link]

Work with State of Alert[link]

• No Policy (1981)
• three songs on the sampler Flex Your Head (1982)

Work with Black Flag[link]

• Damaged (1981)
• My War (1984)
• Family Man (1984)
• Slip It In (1984)
• Loose Nut (1985)
• In My Head (1985)

Studio albums (Solo)[link]

• Hot Animal Machine (1987)
• Drive by Shooting (1987)

Studio albums with Rollins Band[link]

• Life Time (1987, re-release 1999)
• Do It (1987)
• Hard Volume (1989, re-release 1999)
• The End of Silence (1992, double-CD re-release 2002)
• Weight (1994)
• Come In and Burn (1997)
• Get Some Go Again (2000)
• Nice (2001)
• Rise Above: 24 Black Flag Songs to Benefit the West Memphis Three (2002)

Spoken word[link]

• Short Walk on a Long Pier (1985)
• Big Ugly Mouth (1987)
• Sweatbox (1989)
• Live at McCabe's (1990)
• Human Butt (1992)
• The Boxed Life (1993)
• Think Tank (1998)
• Eric the Pilot (1999)
• A Rollins in the Wry (2001)
• Live at the Westbeth Theater (2001)
• Talk Is Cheap: Volume 1 (2003)
• Talk Is Cheap: Volume 2 (2003)
• Talk Is Cheap: Volume 3 (2004)
• Talk Is Cheap: Volume 4 (2004)
• Provoked (2008)
• Spoken Word Guy (2010)
• Spoken Word Guy 2 (2010)
• The Long March (2012)

Spoken word documentaries[link]

• Talking from the Box (1993)
• Henry Rollins Goes to London (1995)
• You Saw Me Up There (1998)
• Up for It (2001)
• Live at Luna Park (2004)
• Shock & Awe: The Tour (2005)
• Uncut from NYC (2007)
• Uncut from Israel (2007)
• San Francisco 1990 (2007)
• Live in the Conversation Pit (2008)

Audio books[link]

• Get in the Van: On the Road with Black Flag (1994)
• Everything (1996)
• Black Coffee Blues (1997)
• Nights Behind the Tree Line (2004)

Essays[link]

• Iron and the Soul, First published in Details magazine, 1994.^{[citation needed]}
• As We See It, an editorial essay in Stereophile magazine.^[67]

Guest appearances and collaborations[link]

In 1993, Rollins appeared on the Tool album, Undertow where he and Tool front man, Maynard James Keenan, performed the vocals in the song "Bottom". Rollins appeared on the 1996 studio album Les Claypool and the Holy Mackerel Presents Highball with the Devil, narrating "Delicate Tendrils". He also appears on Black Sabbath guitarist Tony Iommi's solo record Iommi which was released in 2000.

Rollins appeared as Vanilla Ice in the 1991 music video "Pop Goes the Weasel" by hip-hop trio 3rd Bass; and as Duke in the 2009 music video "The Ballad of G.I. Joe" on the website Funny or Die. He also appeared in the 2010 music video "Haifisch" by German industrial metal band Rammstein.

Rollins has made several voice acting performances in video games including the main character Mace Griffin in Mace Griffin: Bounty Hunter and as himself in Def Jam: Fight for NY.

References[link]