Tomata’s extraordinary power on stage

Describing a July 1979 performance, music critic Robert Hilburn of the Los Angeles Times focused on “Tomata’s extraordinary power on stage.” According to Hilburn, “Tomata’s hair was greased to stand straight up, giving him the look of a man who had just stuck his finger into an electric socket. His performance reflected the nervous, relentless anxiety of someone whose troubles are even deeper… by the end of the 40-minute set, du Plenty has gone through the same disintegration of the human will that we associate with such books as “1984.” Eventually, the tuxedo jacket, shirt and tie are ripped off, leaving him symbolically naked in his attempt to maintain some dignity and individuality. As if suddenly put in another man’s body, he asks in horror: “Who am I?”