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Happy Birthday to Mikhail Bulgakov, from Patti Smith and Beatdom!

On May 15, 1891, Mikhail Bulgakov was born.

Today, also May 15, Patti Smith was kind enough to talk to Beatdom about writing, her favorite Apostles, Allen Ginsberg, Gregory Corso, William S. Burroughs, and Herbert Huncke, among other things. You will have to wait until Beatdom Issue 12 comes out to read the full interview, but since today is Bulgakov’s birthday, and Patti likes to keep track of such things, we thought we would share the birthday salute, along with these words from one of the greatest singer-songwriters living today. On June 5, she will release her first collection of new material since Trampin’ in 2004, and Bulgakov, and a favorite canine character of his, figure prominently in the work.

Here is what Patti had to tell us about Mikhail Bulgakov and the connection to her new CD/album/LP/digital download, or whatever you prefer to call it…it is her new music.

“Bulgakov is one of the great Russian novelists and playwrights who was suppressed by Stalin and, very simply, he wrote one of the masterpieces of the Twentieth Century,  The Master and Margarita. I am not really ready to give a lecture on political culture today but I do like to wish him a Happy Birthday. I think the best way to know Bulgakov is to read him.

“The album title (Banga) came from the dog in The Master and Margarita. It was Pontius Pilate’s dog and his dog’s name was ‘Banga.’ The reason I wrote a song for Banga, for those who have not read the book, Pontius Pilate waited on the edge of Heaven for 2000 years to talk to Jesus Christ and his dog, Banga, stayed faithfully by his side and I thought that any dog that would wait 2000 years for his master deserves a song. Its really a song for my band and for the people. It’s a high-spirited song, dedicated to love and loyalty.”

High-spirited, dedicated to love and loyalty…sounds like familiar territory for Patti. As usual, we hear Lenny Kaye’s great guitar playing, Tony Shanahan working the grace out of the keyboards and bass, and the rock-steady beat of Jay Dee Daugherty. There is love and loyalty for you – Kaye has been with Patti since 1974, Daugherty since 1975, and Shanahan since 1988. New to the mix are Patti’s son Jackson Smith on guitar, and Jack Petruzzelli, a new face in the Patti Smith Group since 2007, on guitar and bass. Old friend Tom Verlaine makes an appearance, as does Patti’s daughter Jesse Paris.

There is a sense of continuity to this LP, more than with many past offerings. The sound is fantastic but is undoubtedly better live and loud. The subject matter starts with Amerigo Vespucci and Christopher Columbus makes an appearance near the end. Mixed in are songs dedicated to Johnny Depp, the survivors of last year’s Japanese nuclear disaster, Amy Winehouse, Nikolai Gogol and, of course, Bulgakov. Plus there is a lot more, but we have only had three days to listen, and, as usual, it is lyrically dense.

It is noteworthy to mention that Mick Jagger,  one of her early role models and heroes, wrote the Rolling Stones song, Sympathy For The Devil, after reading the same book. It seems like the best way to enjoy Banga is to order the deluxe edition (featuring the excellent bonus track, Just Kids, which is a classic that seems perfect for a loud performance), along with her most-recently released book, Woolgathering, and order yourself a copy of Bulgakov’s The Master and Margarita. You can pre-order today, while it is still Mikhail’s birthday!

We hope you enjoy all three but especially some long-awaited new music from Patti, one of the most talented living performers. For more information on how to pre-order Banga, please visit www.pattismith.net.

What Do The Rolling Stones Have In Common With Mr. Burroughs?

Aside from the love of guns, hard drugs, being cultural phenomenons and part-time movie stars, what did William S. Burroughs share with the Rolling Stones?

Recently released on DVD,  Stones In Exile is a documentary premiered by the BBC in May.  Amid the great footage of the boys (?) jamming and living at Keith Richards’ house in France, we get a gliimpse of the song-writing process that put Jagger/Richards on the pop map.

One pleasant surprise, among many, is the creation of the song, Casino Boogie.

Casino Boogie was written in the famous ‘cut up’ style created by Williams Burroughs and Brion Gysin. Words and phrases and cut from sentences and thrown into a hat. Then the cut up pieces of language are magically arranged by the forces that be and are divined by the artist, who randomly picks out the cut up pieces and puts them together into some semblance of order.  Burroughs based novels on the concept, as is explained in David S. Wills’ essay on Burroughs and Scientology in the soon-to-be-released Beatdom Number 10, The Religion Issue.

Here is what Mick and Keith did with their cut ups…just click on the link below.

Casino Boogie

William Burroughs – Heavy Metal Guru

by Spencer Kansa.
”Tell him I’ve been reading him and I believe every word he says.”

Bob Dylan to Allen Ginsberg on William Burroughs in 1965.
I remember sitting across from William Burroughs at the dining table in his modest, porch-fronted clapboard house in Kansas, trying to take it all in, thinking this was the coolest thing I had ever done. As we sat sharing a joint – small “bomber” variety – Burroughs clocked the emblem on my baseball cap and asked in his drawling cowboy voice what the symbol meant. “Ah, it means I’m a Public Enemy” I replied. Burroughs smiled knowingly; as ever, he understood.
As perhaps one of the most important literary influences on modern music and pop culture, William Burroughs’ nightmarish dystopian visions and anti-authoritarian world view has infused and informed the work and ideas of a pantheon of rockers: Bowie, Dylan, Jagger, Lou, Iggy, Patti, Zappa, Kurt, Sonic Youth etc.

The cut-up technique he made famous has had a precursory impact on the fragmented sonic canvas of hip-hop, and was the catalyst behind the scrambled images of U2’s ZOO TV. His cosmic yobs, hipster jargon, drug induced visions and novel titles have been inspiration to a slew of bands and films: Soft Machine, Steely Dan, Bladerunner, Dead Fingers Talk, Wild Boys, Interzone, The Mugwumps, Johnny Yen, Nova Mob, Thin White Rope et al. Burroughs’ grey, spectral presence graces the iconic cover of Sgt Pepper’s, and even Duran Duran paid their own rather dubious homage to El Hombre Invisible when they based their promo-video Wild Boys on Burroughs’ futuristic story of a savage band of adolescent guerrillas.
Yet, the “heavy metal” guru – Steppenwolf purloined the phrase for their rock anthem Born To Be Wild from Burroughs’ sci-fi novel The Soft Machine, in turn giving name to a whole sub-genre of rock – viewed such reverence with knowing bemusement. A teenager in the 1920s, Burroughs always preferred Leadbelly to Led Zeppelin. However, in an interview with Jimmy Page, Burroughs did concede that “Rock can be seen as one attempt to break out of this dead and soulless universe and reassert the universe of magick.”
The cut-up technique in particular has carved a through-line in modern music and has resulted in Burroughs holding a subversive sway over pop culture for four decades. The cut-ups were discovered serendipitously by Burroughs’ main gazane, the maverick Canadian painter Brion Gysin, while the two men were residing at the bohemian Beat Hotel in the Latin Quarter of Paris in September 1959.

While slicing through some boards with a Stanley knife to mount some of his drawings, Gysin noticed that he had cut through the layers of newspapers underneath and that when he peeled away the top layers he could read across the different pages – which combined stories from across the various columns – providing a new juxtaposition of words and images. Gysin had announced that “writing was fifty years behind painting” and the cut-up technique allowed the writer to borrow the painter’s tool of montage.

Burroughs immediately saw the implications and potential of this discovery and began experimenting, taking a page of his own writing and cutting it into four separate parts, then rearranging the sections to form a new composition out of the text. For Burroughs, who felt restricted by the antiquated beginning, middle and end narrative structure of the Victorian novel, it was a major artistic breakthrough and the perfect vehicle that he had been looking for. Significantly the cut-ups mirrored Burroughs’ own fragmented, mainline existence and as he pointed out, they were also a far more honest representation of how the mind really works. Burroughs explained: “someone walks around a block and paints a canvas of what he has seen. Well he’s seen someone cut in two by a car, reflections in shop windows, passing faces, a jumble of fragments. So the cut-ups are closer to the actual facts of human perception. LIFE IS A CUT-UP.”
Although Mick Jagger had shown interest in starring in a mooted film version of Naked Lunch back in the late 60s and Lou Reed’s smack-soaked sado-sex songs trawled similar subterranean territory – the Velvets even penned an ode to Burroughs, “Lonesome Cowboy Bill” on their Loaded album – the most vocal and visible disciple of Burroughs in rock was David Bowie. Although Bowie admitted to only to having a passing knowledge of Burroughs’ work – he had just read Nova Express – when the two men were brought together for a joint interview by Rolling Stone magazine in 1973, by the time Bowie went to work on his next venture, the future-shocker Diamond Dogs, his own cut-up efforts had been put into action and helped set the fractured tone of that forbidding, Orwellian opus.

During the following Diamond Dogs tour across America, Bowie was filmed by the BBC for the Cracked Actor documentary. With paper and scissors in hand, Bowie was filmed as he cut up and re-arranged a page of ideas: “I don’t know if this is the way that Gysin or Burroughs do their cut-ups, but this is how I do mine,” he explained, adding that the technique was “a western form of Tarot.”

Throughout the rest of the 70s Bowie continued with the cut-up lyrics, particularly on the trio of albums he recorded with Brian Eno: Low, Heroes and Lodger. Bowie also incorporated Eno’s own version of the cut-ups, a deck of playing cards called Oblique Strategies, on which were written a selection of musical instructions that they could randomly pick whenever they were stuck for a new idea, or looking for a new musical direction to take. The card commands helped create a series of “planned accidents” on tracks of those seminal albums.
After a decade’s hiatus Bowie returned to the cut-ups on his 1995 avant-rocker, 1. Outside. This time, however, technology had caught up, and thanks to a computer programming pal, Bowie could now feed a whole stack of information into his Apple Mac and hit a randomiser button, which could cut-up and scramble the contents and spew the results back out to him. Talking on Canadian television that year Bowie paid tribute to Burroughs and the cut-ups saying: “Burroughs particularly touched me. The way he cut-up the world and reassembled it. I felt more comfortable in that environment, that kind of chaos. That fragmentation for me felt a truer picture of reality.”
“He’s up there with the Pope”- Patti Smith on Burroughs.
His legend preceding him, Burroughs returned to New York in the mid-70s, landing smack (ahem) in the middle of the emerging CBGB’s punk scene. More arty and literate then their UK counterparts, Burroughs’ mystique and mythic reputation was idolised by many of the scenes’ leading lights, particularly punk’s own poet laureate Patti Smith, whose performances Burroughs admired and whose classic album, Horses, owed much to Burroughs own homo-erotic prose. Holding court at his famous “bunker on the Bowery,” Burroughs received a steady stream of rock n roll admirers, including Joe Strummer and Richard Hell. Though Burroughs understandably dismissed the “Godfather of Punk” tag that had been foisted upon him, he did send a telegram to The Sex Pistols supporting their anti-monarchist anthem God Save the Queen, declaring: “I’ve always said that England doesn’t stand a chance until you have 20,000 people saying ‘Bugger the Queen!’…This is a necessary criticism of a country which is bankrupt.”

A celebration of all things Burroughsian, entitled The Nova Convention, took place in New York in the winter of 1978 with a glittering galaxy of rock stars and counter-culture figures taking part. Frank Zappa read Burroughs’ Talking Asshole routine, Patti Smith covered for Keith Richards – who cancelled due to his drug bust in Canada – while Brion Gysin, Allen Ginsberg and Timothy Leary all participated in seminars. Music came courtesy of minimalists Phillip Glass and John Cage, while Laurie Anderson co-mastered the ceremonies.
Though Burroughs had disbanded cut-ups by the eighties they were kept in pop consciousness due to the sterling work of industrial music pioneers, Throbbing Gristle, whose magus Genesis P Orridige released a collection of Burroughs’ audio cut-up experiments on the album Nothing Here but the Recordings. Recorded in London, Paris and Tangier throughout the 1960s, the album showcased Burroughs’ spooky, Dalek-like tone and introduced a generation to how the cut-ups sounded. Dubbing street noise from Tangier to London, cut in with garbled short wave radio, Joujouka music, newspaper reports, and excerpts read from his own novels, these sonic collages were Burroughs’ own subversive brand of musique concrete. Even more than the novels, Genesis P Orridge was interested in Burroughs’ concepts, in particular his idea of using these audio cut-ups as a political tool against hierarchies of control. Burroughs postulated that by selecting the appropriate random sounds, bastardized speeches, siren drones, animal noises and gun shots, a team of operators strategically placed with tape recorders could playback such recordings, inciting a riot at a demonstration, or a political rally.
In tandem the evolution of hip-hop from Bronx block parties to rebel rousing on wax was bearing all the hallmarks of a musical extension of the cut-ups. The way in which Burroughs would construct a new piece of writing by synthesizing two pieces of text and information presaged the way in which a DJ would mix between two records, fusing a third new soundtrack amalgamated from both decks, hence the DJ term “cutting.” Burroughs idea of weaving other authors’ work into his own writing anticipated the whole sampling process. So in the same way as Burroughs, through utilising the cut-up technique, broke down the old structures of the novel, creating a new literary landscape, rap, through musical cut-ups and manipulations of sound dismantled the old song structures, creating a revolutionary new sonic canvas in the process. Burroughs appreciated this new aural architecture and when pressed on the subject admitted to me that “rap music has great potential.”
Throughout the last two decades of his life, Burroughs himself made many interesting forays onto vinyl. In the late eighties he topped the bill on the Smack My Crack and Like a Girl I Want to Keep You Coming Poetry Systems albums, put out by his Bunker buddy and fellow spoken word troubadour, John Giorno. Reading his Words Of Advice For Young People and Just Say No To Drug Hysteria routines respectively, Burroughs  appeared alongside a who’s who of eighties cult figures, like Nick Cave, Diamanda Galas and Lydia Lunch, as well as more established names like Debbie Harry, David Byrne and Tom Waits.

In 1990, Burroughs entered into a full fledged collaboration with Tom Waits when the grizzled singer scored the musical The Black Rider, based on Burroughs’ book of the same name. This Faustian fable was given its theatrical premiere in Hamburg to critical acclaim, and on the subsequent album Burroughs sung the old jaunty jazz number Taint no Sin.

That same year, Island Records released a new Burroughs collection, Dead City Radio. With atmospheric accompaniment from the likes of John Cale, Donald Fagen and Sonic Youth,  old time movie strings courtesy of producer Hal Wilner – who had previously provided background music for Burroughs when he made a memorable appearance on Saturday Night Live, reading his Titanic farce, Twilight’s Last Gleamings – the album’s highlights included Satanic Bill’s downright perverse rendering of The Lord’s Prayer, his anti-American tirade, A Thanksgiving Prayer, and best of all, his croaky, vodka sodden rendition of Marlene Dietrich’s swan song, Falling In Love Again.

In 1992, the concept album The Western Lands was released by renowned producer and Burroughs fan, Bill Laswell. Based around Burroughs’ novelistic investigations into the seven souls concept of the Ancient Egyptians, Laswell crafted an equally exotic and ambient soundgarden. That same year Burroughs collaborated with industrial noise meisters Ministry for the 12” Just One Fix. Over slabs of industrial beats Burroughs intoned an appropriate smack-it-up sermon, and also provided the abstract cover artwork Curse on Drug Hysterics.

The following year another more high profile collaboration rose to prominence fuelled by the untimely death of Kurt Cobain. The Priest They Called Him was an alternate version of Burroughs’ The Junkies Christmas, and pitted his yuletide yarn against swathes of Cobain feedback in a cute cash-in. Although recorded separately, a meeting was held between the two men at Burroughs’ home a year later. Picking up on the troubled vibe of his houseguest, Burroughs later confided to his assistant: “there’s something wrong with that boy, he frowns for no good reason.”

Far more substantial was the collaboration released that same year between Burroughs and Michael Franti’s Disposable Heroes of Hiphoprisy rap group: Spare Ass Annie and Other Tales. Delivering his infamous Dr Benway and Talking Asshole routines against a funky backbeat, the album contained many precious moments, including MC Zulu’s amusing boxing style announcement introducing Burroughs in his thickest Jamaican patois: “Check dis out. From Lawrence, Kansas, reading from Naked Lunch and weighing slightly over 100 pounds, Uncle Bill.”

A few months later self proclaimed “Beatnik rapper” Justin Warfield paid his own Hip Hop tribute to the original drugstore cowboy, bigging up Burroughs for his “spiritual, musical and earthly inspiration” on his (B-Boys on acid soaked) debut LP, My Field Trip To Planet 9. This filmic album and his subsequent collaboration, Bug Powder Dust with Bomb the Bass supremo Tim Simenon, were littered with Burroughsian and Beat references, and speaking to me Warfield drew many parallels between the Be-Bop inspired Beat era to today’s generation of mic-slingers.

Justin Warfield told me,

The Beat writers got a lot of the rhythms of their speech from saxophone players, and a lot of white writers at the time, like Kerouac, adopted black culture, jazz and drug culture, into their work, but beyond that, Ginsberg said it was more to do with people who were just enamoured with each other. Ginsberg has a great rhythm to him because his poetry has a pulse to it, a bigger backbeat. He really flies off the handle, and it’s pretty wild, but Burroughs has a special rhythm all his own, his literary style is a big influence on me as a hip hop lyricist. I don’t think most people in the rap world are hip to the cut-ups, but if they checked out Burroughs and Gysin they’d certainly see the connections between the two.

Burroughs’ post-apocalyptic dreamscapes also infiltrated the visual Arts and inspired celebrated New York graffiti artists like Keith Harring and Jean Michel Basquiat. Appreciating art-as-crime/crime-as-art, legend has it that Burroughs himself was once caught by a transit cop, aerosol can in hand, spray painting AH POOK IS HERE – the Mayan God of the dead – upon the walls of a New York subway station.

In the wake of Burroughs’ death in 1997, Mercury Records released the 4 CD Box Set: The Best of William Burroughs. Unravelling in almost chronological order this sprawling spoken word box set spanned forty years of Burroughs’ repertoire, and served as a perfect platform for his lacerating diatribes against the phoney war on drugs: “Our pioneer ancestors would piss in their graves at the thought of urine tests to decide whether a man is competent to do his job.” Such assaults marked him out as a masterly satirist, back when that word meant something and the word fuck could not appear on a printed page. His deadpan wise-cracks ranked him up there with Will Rogers, Lenny Bruce and Bill Hicks as one of the all time great black humorists: “Doctor asks what the American flag means to me. I tell him soak it in heroin Doc and I’ll suck it.” A genuine cut-up in every sense.

With rock-n-roll credibility enshrined, it was perhaps only fitting that Burroughs last public appearance would be a cameo role in U2’s promo video for their Last Night on Earth single. The sinister image of Burroughs wheeling a giant klieg lamp around in a shopping cart proved to be a perfectly symbolic one for a man whose life and work shone arcs of light with its darkness.

Patti Smith and the Beats

“A hipster goes into a diner.

‘What kind of pie do you have?’ he asks.

The waitress says, ‘The pie is gone.’

‘Cool,’ says the hipster. ‘In that case, I’ll have two slices.’”

–          Patti Smith, Philadelphia, 2003.

We are a Generation of Beats. This Generation has more longevity than any other generation to date. I am 53 years old. I know Beats who are 20-something and the beginning of the movement was 60 years ago. We are an ageless generation. Our heroes are infinite. They are both dead and alive. They are gone but still they teach us. A succession of anti-authoritarian voices have been raised (for this, our generation) since the 1950s.

It is said that Patti Smith bristles at a sobriquet which labels her as an ancestor, or an elder, of punk rock, and rightly so. While she was performing her art in a form that would be incorporated into the punk scene, she predated the rest of the ‘movement’ by a couple of years.

More Beat than Hippie or Punk, movements she feels are linked together by a “common anti-establishment mentality,” her dark, soulful voice, frantic, guttural rocking and shimmering poetics ala guitar rage put her at the head of the vanguard before the movement made it to vinyl. If she is progeny of the Great Spirit, which prevails in the existential and individualist work of hipsters, punks and hippies, then she is a cosmic Big Sister – cajoling, smiling, inciting caring, minding us to wash our socks and drink lots of water. She is, at once, big buddy and spiritual advisor.

A Patti Smith Group show is very much akin to psychedelic experience. It cannot be accurately described in full without losing feeling; if you are aware and paying attention, you learn a lot; you feel a strange energy bubbling up from the pit of your gut and climaxing cerebrally; you do not look at things in the same way the next day and everything looks sorts of different. A typical show is a hallucinogen comprised of  thoughts floating on musical notes and snatches of poetry, punctuated by a voice that comes from far away, from one lost in the wilderness, from one as close as a mother’s breath… and you can count on a couple of laughs thrown in for good measure.

Watch her smile. Feel the vibration of her voice course through your body and let the deep reediness consume you. Listen to her read from Ginsberg’s ‘Howl.’ Have a few laughs as she tells a joke or makes humorous observations. See her jump up and down in anger and frenzy while reading the Declaration of Independence. Dance to her voice as she struts Jagger-style from one side of the stage to the other. Cheer as she yells “Fuck You!” at an odd request from the audience. Sweat from the energy and dance, dance dance.

She deliberately keeps ticket prices low for her fans, so I imagine she may be one of the less expensive trips available these days.

The first time I saw Patti, I was hooked. It was just an album cover but the face, the figure (remember album art?) and the sound of her voice – deep, vibrant, rich, wild, unrestrained – were enough to put me on the path to songs that inebriated my sensibilities. ‘Horses’ (1975) was unlike anything before it or since. It has inspired countless young musicians to take the stage and opened pop music’s back door to sneak in poetry, literature and art. It is the same bottomless voice that belted out ‘You Light Up My Life’ on the kids TV show ‘Kids Are People, Too,’ in 1979. From the beginning, Patti was anything but definable.

With Patti, it seems to always be about “the people” – at least, when she is not holed up in a café writing in her journals or losing herself in the pages of the masters of art and literature. Her song, ‘People Have The Power,’ is an exaltation to all that we, all of us together, have the power to change life, ourselves and the world around us. We just have to know it. We need people like Patti to tell us.

The song was written when she was in the non-performance mode. In a recent Public TV interview, she recounts washing dishes in the kitchen when her husband, the late Fred ‘Sonic’ Smith of the MC5 suggested the song to her. (Some older readers will remember the importance of the ‘Kicks Out the Jams (Motherfucker!)’ LP from the MC5 back in 1969. The MC5 were first to cross the hippie-punk border and put a hard edge on the flower-children.) Patti was leaning on the sink and Fred came into the kitchen, looked at her and said, “Patricia, People Have the Power…write it.” She did eventually write it and the message it carries is one of universal love, hope and encouragement. I post it on YouTube.com about once a month, just to feel like I am giving people some hope.

A few years after ‘Horses,’ the venerable Tom Snyder treated us to an interview with Patti, in 1978. It was an amazing show. In necktie and tweed, she was a gleaming presence as she praised Little Richard for his ability to “focus physical, anarchistic and spiritual energy into a form,” that form being rock and roll. She often sites Mick Jagger as her biggest rock idol, however, and in early videos you can see how much influence Jagger had on her moves, if nothing else.

Death, she told Snyder before losing husband, lover, brother and mother to it, is a really magical extension of being in love. Snyder asked about her feelings for the USA, perhaps hoping to catch a snippet of punk outrage but Patti remained ever-positive, noting that “we have a real wonderful country” but she did give a hint of her penchant for looking at the bigger picture:

I want to see us just care more. We have such a wonderful planet and (yet) we are so lackadaisical about it. I’m not against sin. I’m not against perversity… (we should) define our priorities.

In 2010, those priorities seem to have been defined by the hope for global survival but Patti was on the ball 30-odd years ago. I quote an old interview like this because it adds more gravity to her words and her prescience.

I do a lot of my work to inspire people… inspire them in all different ways – cerebrally, sexually, spiritually. I always hope people will have some kind of orgasms from my work, whether just a sense of relaxation, a sense of release…an illimunation! …and also a good laugh!

Isn’t this what the Beats were aspiring to since the beginning?

Burroughs pushed the envelope with Naked Lunch. It was the last book to be censored in the United States, following a 1966 Supreme Court ruling. Lenny Bruce pushed the language envelope, too, by exposing the treachery of racism in society by using the language of racism against itself.

‘Rock N Roll Nigger’ is a song that Patti usually saves for encores. A song that is shoulder-to-shoulder with all the best rock and roll songs, she often presents it after reading some poetry or giving the crowd a little advice. Her shouts of “nigger nigger nigger nigger nigger nigger NIGGER!!!” still shock and cause us to look around and see who is listening. Isn’t that what Lenny did? What Ginsberg did in ‘Howl’ and Burroughs in Naked Lunch? This is, in fact, the technique employed in ‘Howl’repetitive succession of chorus into orgasmic ecstasy. Ginsberg and Patti share an orgasmic vision as the goal of their art. The other multi-choruses of “…outside…” hung on the phrase “outside of society,” offer the most basic Beat tenet. (I digress, but it is hard not to give a tip of the beret to the Ramones for giving us the song Outsider, to add to the soundtrack of Beat lifestyle.)

The difference between Patti and, say, Mick Jagger is that Jagger does not read Ginsberg, Rimbaud, Tennyson to fans from the stage. He doesn’t sing about his “Blakean Year.” Patti does a service by teaching us, by giving us other voices to learn from. She reads Walt Whitman in honour of Ginsberg and takes the time to explain why Thomas Jefferson is important to us.

After reading a biography of Bob Dylan, I had no choice but to pick up the works of John Steinbeck and read every one. I read about Steinbeck and his love of the poetry of Rimbaud, Verlaine, Baudelaire and the prose of Rabelais. It seemed like pretty heavy stuff but when I saw Patti quoting Rimbaud and even dressing like him, I had no choice but to dive in. She is our teacher, our hallucinogenic big sister. She makes sure we don’t pay too much for tickets to see her. She wants us to be safe. She wants us to be smart. She wants us to have warm socks. She tells us in so many words. When seeing her deal with overly-rambunctious audience members, you remember she is mother to two boys (one of who is now a member of the group, Jackson Smith). She can put loudmouths back into their “terrible twos” with a few words and send them sulking… then tell a joke to diffuse any negativity.

As heavy as she may be, she delights in being the comedian. She was voted “Class Clown” in her final year of high school and her material does not depend on being literary. She will quote a popular television advert when things get quiet. She will be a holy goof when necessary.

During a recent live interview, she was asked a particularly deep question. Looking deadpan into the camera and audience, she quipped, “I guess none of us are gonna get home in time to see House tonight.”

Growing up in TV culture goes deep. When things get a bit dodgy onstage, as is apt to happen in any variety of live entertainment, she humbles herself and thinks, what would JC do? The JC she looks to is not the Holy Saviour of the Bleeding Heart… no, it’s good old Johnny Carson, former king of the tube. She ruminates that her failure to appear on Carson’s show is one of her great regrets. She tried very hard to get a booking and even promised to wear a dress. Her love of Johnny is no passing fancy. A long-time viewer, she would verbally spar with compatriots in the years when she was an opening act in order to prepare herself for the stage. She found that conducting herself  in Carson’s unflappably affable manner always put her comfortably in charge of any onstage mishap… barring physical ones.

She broke her neck after a fall from stage onto a concrete floor in 1977 and between recuperating, enduring therapy and raising a family, she stayed offstage for 17 years. In 1994, her husband Fred died. Shortly after that, her brother, Todd, died. It could not have been an easy time for her. Friends came to her and pulled her up. Allen Ginsberg and Michael Stipe (of REM) urged her to get back onstage when Bob Dylan asked her to join him for the eight-city ‘Paradise Lost Tour’ in December of 1995. Her duet with Dylan on his song ‘Dark Eyes’ was a highlight of the tour and is still a YouTube favorite, fifteen years later..

I managed to catch the fourth show in the tour. Bob Dylan fans are not easy to find sometimes, so I ended up with an extra ticket and an empty seat next to me, which was used by Stipe during part of the concert to take photos for a book he was doing about Patti and the tour. I didn’t know any of the background until afterwards. I didn’t know that a Father of the Beats had sent this Heavenly Sister back to us with her message. Allen died less than two years later but we are grateful for his gift of bringing Patti back to us. May Allen Ginsberg and William S. Burroughs and all the others keep on rocking today, through the voice of She, a Most Sacred Sister.

Patti keeps touring, currently booking a lot of shows in Spain and Italy. She travels Beat. She writes regular journals which are available to her fans on her website.

In the 1970s, she made reference to her Vision and how she would realize it. Her lyric indicates that she has long since found that Vision…

I was dreaming in my dreaming
of an aspect bright and fair
and my sleeping it was broken
but my dream it lingered near
in the form of shining valleys
where the pure air recognized
and my senses newly opened
I awakened to the cry
that the people / have the power
to redeem / the work of fools
upon the meek / the graces shower
it’s decreed / the people rule…

(Lyrics to ‘People Have The Power’ by Patti Smith/Fred ’Sonic’ Smith)

In February, Patti published Just Kids, an autobiographical work centering on her relationship with artist Robert Mapplethorpe.  Her other books include Witt, Babel, Woolgathering, The Coral Sea, and Auguries of Innocence.

In 2005 the French Ministry of Culture awarded Smith the prestigious title of Commandeur of Arts & Letters, the highest honor awarded to an artist by the French Republic. She was inducted into the Rock and Roll Hall of Fame in 2007.