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19-09-2006
  91
Of a bastard line.
 
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Quote:
Originally Posted by MissMagAddict
^Multitudes ~ Thank You for the music links
You're most welcome ... and thank you again for the articles ...

Photos by Mapplethorpe ...

postmodern.com



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19-09-2006
  92
Of a bastard line.
 
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Another Mapplethorpe ...


Photo by Judy Linn ...


Photo by Lynn Goldsmith ...


From a film by Sandy Daley ...

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21-09-2006
  93
The future is stupid
 
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Mother Superior
Arts Interview
Alice O'Keeffe


In the 1970s, Patti Smith revolutionised rock'n'roll. Now, she tells Alice O'Keeffe, her priorities are the environment, the anti-war movement and good dental hygiene

Patti Smith raises her arms and lets loose a howl. "What is the point?" she wails. "What is the point?" A wall of guitar noise ebbs and screeches, with the occasional crunch of feedback. She blows frantically into a clarinet, eliciting a succession of piercing squeaks, then spits on to the stage floor. We may be a well-heeled crowd at the South Bank in London, but she has conjured us into a smoke-filled poet-hole in Greenwich Village. About half of the audience look like they are on a spiritual journey; the other half are clearly keen to get home and have a stiff whisky.

She may be approaching 60, but Smith has lost none of the bohemian spirit for which she was so well known. Her live performances, during which she draws audiences into an improvised world of pure emotional energy, have been described as "religious", even "shamanic". With her unbrushed tresses of greying hair, outsized cowboy boots and bony, angular features, she is an icon whose name sits comfortably in the rock pantheon alongside the likes of Bob Dylan, Jimi Hendrix and Jim Morrison.

The odd thing is that she has not sold very many records. She had one top 20 hit, and that was in 1978 - a duet with Bruce Springsteen called "Because the Night". Smith herself recognises this: when she released Land 1975-2002, a collection of songs from her previous albums, she joked that it wasn't called Greatest Hits because "we would have had to call it Greatest Hit and have the same track 15 times over".

Nevertheless, she maintains an extraordinary influence over popular culture, continuing to play concerts all over the world. When she curated the Meltdown festival at the South Bank last year, it was the hottest ticket in town. It seems a strange paradox: Smith fulfils our desire for a true, pure artist - and yet she is clearly famous for something other than her art.

I put this to her when we meet, a few days before the concert, at the Alison Jacques Gallery in central London. She is launching an exhibition of portraits by Robert Mapplethorpe, her late best friend and sometime lover. In pride of place is the portrait of Smith from the cover of Horses: a familiar, androgynous figure in shirt and braces, staring confrontationally from the frame. This is the image that defined the rock'n'roll female, establishing a tradition that has been kept by everyone from Chrissie Hynde to P J Harvey.

In person, Smith is grounded and mellow. She sometimes takes a surprisingly homespun, motherly tone. "I would like to think that the quality of the work I do with my band merits people still being interested," she says. "Also I'm politically concerned, and I voice my concerns - perhaps that's another reason."

I wonder whether she would agree that people are fascinated by her as a symbol of a more dig nified age - a kind of anti-Paris Hilton. "I think there is a certain amount of truth in that. When I made my first record, rock'n'roll was a new form. I didn't think about making money, I didn't imagine being rich and famous. My motivations were not to get a bunch of cute guys, get drugs and have a limousine. I really wanted to do something important to contribute to the canon of rock'n'roll."

Smith's career has always been driven by a sense of mission. When she first started reading her poetry backed by an electric guitar, in 1970s New York, she wanted to "return rock'n'roll to the people". She was alarmed by the commercialisation of the music industry, as the gen eration of rebel artists of the 1960s either went stellar (the Rolling Stones) or bit the dust (Hendrix and Morrison).

"I came from an era when people felt they could make a difference. We felt that we could stop war. We felt that we could start a revolution, express our poetic and sexual energy, do something positive. That is part of the legacy of rock'n'roll and people can still do that. Some 16-year-old could wake up tomorrow and say, 'I'm going to make a record which will wake up the world.'"

Few artists who spoke for the children of the 1960s or 1970s would still talk so idealistically about the transformative potential of rock mus ic. And yet, unlike so many of her rock peers, Smith has studiously avoided the hedonism and self-importance of many people who work in the music industry. At the height of her fame in the 1970s, she suddenly retired to concentrate on raising a family with her husband, the guitarist Fred "Sonic" Smith.

"She is one of the few performers I know who has actually managed to get off the road," says Glenn Max, contemporary culture producer at the South Bank, who worked closely with Smith on last year's Meltdown. "No male artist I know has ever succeeded in doing that."

Predictably, it has been suggested that her husband demanded that she retire, but Smith herself has always insisted that it was her decision. "I had said everything I knew how to say, so I would either be redundant or merely start getting rich and famous," she told one interviewer when she re-emerged with the album Gone Again in 1996. "I needed to learn more, so I had more to give."

It has proved to be a wise choice. Family life has given Smith a solid foundation from which to continue her work, and a genuine sense of perspective on her fame. "I really don't want you to think that I sit around at home thinking of myself as an icon," she tells me at one point, with great emphasis. "I'm a mother, I'm a normal person, and I never think about myself in those terms, although of course it is flattering to hear it. I believe that fame is fleeting: it is only good work that endures."

Raising children has also given Smith an instinctive sympathy with younger people, who she believes are doing their best in a hostile world plagued by materialism and "devoid of spiritual content". All one can do, she says, is offer them positive alternatives. "You can't judge young people - you have to set an example. Give them tools. Try to inspire them. I know the new gen eration will figure it all out. And if I can answer any questions, if I can be of any help or service, then, you know, I'm around."

When I press her for detail, her counsel takes a somewhat surprising form: "Things like, eating a lot of fast food is really bad for you. All that salt and sugar creates high blood pressure; it makes you overweight, it makes you sluggish. And take care of your teeth, because when you get older it's such a drag. There's nothing worse than feeling creative, wanting to do stuff, and not being able to because you've got teeth problems and you don't have enough money to take care of them." Thus speaks the rock goddess.

While Smith's ability to hang on to her youthful idealism has endeared her to fans worldwide, it has a less cuddly side. She earned the anger of many American liberals for supporting Ralph Nader as Green Party candidate in the US presidential elections in 2000. Nader was blamed for George W Bush's victory when he won nearly 98,000 votes in Florida, where Al Gore lost to the Republicans by a slender margin. I ask her if, with hindsight, she ever regrets that decision. "Absolutely not. Ralph is a great man and if he was president the world would be glowing." She argues that Gore ran his campaign poorly, failing to fight back against corrupt tactics from the Bush camp. "A lot of people find it convenient to blame Ralph Nader. But the truth of the matter is that if Al Gore had fought to the end, the outcome would have been very different."

It is more difficult to justify her insistence that she would do the same again in the 2008 elections. "Would I campaign strategically to get rid of Bush? No. I would always back the candidate I believed in. If I'm voting for someone, I have to feel that I can live with myself about it."

It seems appropriate that our interview ends with that uncompromising statement. While those around her have resigned themselves to realpolitik, Patti Smith is still rooting for her dreams. And even if she sometimes sounds a wrong note, the world is a richer place for it.

"Robert Mapplethorpe - Still Moving & Lady" is at the Alison Jacques Gallery, London W1, until 7 October.


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21-09-2006
  94
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Quote:
Just Kids : From Brooklyn to the Chelsea Hotel, a Life of Art and Friendship (Hardcover)
by Patti Smith
what is this book about? is it the one about her and mapplethorpe? if so, sounds very interesting.

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22-09-2006
  95
The future is stupid
 
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PATTI SMITH PERFORMANCE TO CLOSE CBGB


Veteran rocker PATTI SMITH will play the last gig at New York punk mecca CBGB next month (OCT06). The GLORIA star will perform alongside her longtime guitarist LENNY KAYE on 15 October (06). CBGB was due to shut up on 30 September (06) after 33 years but will now close its doors for the last time 15 days later. CBGB boss HILLY KRISTAL, who lost his lease last year (05), recently confirmed he is moving the club to Las Vegas, Nevada. CBGB hosted the New York punk revolution in the mid-to-late 1970s, staging regular shows for the Smith, RAMONES, BLONDIE and TALKING HEADS, among others.
22/09/2006 03:27 contactmusic.com

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Last edited by MissMagAddict; 22-09-2006 at 01:31 PM.
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22-09-2006
  96
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it's such a shame that CBGBs is closing up. The scene especially inthe 70s was legendary.
It's a wonderful way though, to have patty play there last. although i think i would have preferred Television since they were the first rock band to play there.

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23-09-2006
  97
The future is stupid
 
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More Patti by Mapplethorpe (I apologize if any of these were posted before/I didn't have time to go through the entire thread)




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Last edited by MissMagAddict; 23-09-2006 at 05:42 PM.
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23-09-2006
  98
The future is stupid
 
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alisonjacquesgallery.com

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23-09-2006
  99
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alisonjacquesgallery.com

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11-10-2006
  100
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United Colors of Benetton Show Paris Oct 10, 2006



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28-10-2006
  101
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Impractical Shoes, Poetry and Patti Smith

Usually, I love this part of my job - fashion weeks.

But these days, it seems rather irrelevant, as there are more pressing concerns at hand in the world.

So when a fashion show becomes a work of poetry, created in the moment and for the moment, I perk up a little.

I think what my life is missing right now, among many things, is poetry.

I walked a mile in impractical shoes to see a show the other day - Ann Demeulemeester - because I took the wrong Metro line to the 17th arrondissement, the far flung neighborhood where the show was being held. But no matter, what Boulevard Berthier lacks in charm, it makes up for at the end of the tunnel, when you finally find the vaulted light and champagne-filled space you've been looking for (at a very different address than you'd thought you were walking to when you first set out).

I think, too, when you've got a fresh haircut, like I did that day, the world is yours and who cares how far you have to walk to find it.

Demeulemeester - one of the famed Antwerp 6 - celebrated her 20th anniversary this year. And her birthday present - a poem written and spoken on the spot, as the model's walked down the runway, by none other than Patti Smith (line breaks are mine):

tattered coat and your scattered hopes
and your silver charms
unfettered, unspoiled
and she sees
lace
white eyelet cloth
billowing
into the sea
Easter
Muslim nets form tents
she dreams of cloth
silver charms

So often the soundtracks to shows fade into the background - you're supposed to notice and not notice them, they augment and highlight and make the clothes special, but you're not supposed to take them terribly literally.

As I wrote the words - rather than simply listening to them (because I was bound to forget them otherwise) - it was quite a trip, thinking - wow - she based her collection on this poem by Patti Smith, literally. But this is why you always go backstage when you're reviewing a collection, because then you understand - NO - Demeulemeester is merely referencing her very first collection, based on Patti Smith's "Wave" and now, it's the reverse, she's got Patti Smith there with her, composing poetry inspired by her collection.

The blisters on my feet, rewarded.

fwd


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01-11-2006
  102
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I never saw this thread

I adore her! The vinyl of Horses was one of the first albums I owned and it is my favourite album of hers, though my favourite song is probably Pissing in a River. I finally had the chance to see her a year ago and she was beyond amazing. It was a real shock when I found out that she was finally performing here, I bought a ticket three months in advance and hyperventilated through the summer

She performed in a tent that had seats, but as soon as she came on stage everyone literally ran to the front of the tent, jumping over all the seats. I got to be in the front row throughout the gig and it is one of the best experiences in my life. I go to a lot of gigs but I've never seen another artist who has such a strong stage presence. She was so powerful and so warm. I think I am still overwhelmed about it all.. can't think of another artist who could do the same.

From the gig I went to:

suezine / Heidi Uutela

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01-11-2006
  103
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^Thanks Deeth...

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03-11-2006
  104
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Does anyone have pictures with Patti Smith and Fred sonic smith?

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24-11-2006
  105
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OMG TFS HAS EVERYTHING!! It never occurred to me to look. Patti Smith and Bruce Springsteen are the reasons I have the faculty to believe and hope when daily news reports and people don't really inspire that. For an artist to do that for millions is unbelievable.

From Kimberly to Ghost Dance to Qana... She can never fail me because she puts her dignity first. I don't think any English artist has ever, or ever will challenge those two and I wonder why. I think it may have something to do with the fact that American society is so much more... well to put it as nicely as possible, closeted. The artists who challenge that can't just be great, their voices have to be stronger than the land itself. Cash was another. Supernovae. Dignity embodied the three.

We have what, The Clash? The Pistols? Please. The voices that are best in English music are voices like Ian Dury... singers of the working class. But in the 20th Century, the working classes haven't had it nearly as bad as the working classes in America where the divide between rich and poor is unbelievable. The English are a very placid people. Which is why our music hasn't had to be operatic like Springsteen or gruffer than the American forest like Cash or plain, stark and gently-mutilating like Patti Smith.

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