Triggers

How we fell in love with the music of patti smith
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binder page 1 page 2

 
trigger idea - Fiona Webster compilation - Mitch Gart typesetting - Pattie Kleinke binder - Gail Crossman-Moore mailing list - babel-list world wide web - babelogue
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i was 8, and i was going to church with 
my mother, and some kid put 
on "girl can't help it" by Little Richard.  i'd 
never heard music like that, 
and i remember being in my little dress, 
my little brown shoes.
i felt electrified and thought if my 
mother looked down she'd 
see rays coming out of me.  It was so
instantaneous, and that music
articulated energy i couldn't express.

- patti smith

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What was your trigger for falling in love with Patti Smith? And how long did it take? For me, falling in love with Patti took about 30 seconds. I was walking down a hallway in a dorm in college (in New Jersey), and heard through an open door, "Gloria" playing. I'd missed the opening but not much more. As she was singing "leaning on the parkin' meter, humping on the parkin' meter" I stopped in my tracks in order to stand and listen. Then I walked into the person's dorm room with my eyes open wide, listening as though my ears were stretching wider too, to hear the song better. and then I hear this knockin' on my door hear this knockin' on my door and I look up into the big tower clock and say, "oh my God here's midnight!" and my baby is walkin' through the door leanin' on my couch she whispers to me and I take the big plunge and oh, she was so good and oh, she was so fine and I'm gonna tell the world that I just ah-ah made her mine That's all it took. It was her voice that blew me away. She wasn't even to the first chorus, before I was in love. And I've never looked back. --Fiona Webster
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> Don writes: > > For some, musicians such as Patti are an acquired taste. > > This suggests an idea for a thread: what was your trigger event for > falling in love with Patti? And how long did it take? > I'd been checking her out from time to time (once in New York at a reading/musical performance in 1973 or early 1974 during my one year in New York -- didn't know who she was but remembered her name and her face and Hey Joe with the Patty Hearst/Tania stuff. When Horses came out I fell in love - don't know if it was the picture on the cover or the version of Gloria..... - Ron Jacobs
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Initially it was Patti's poetry books that turned me onto the goddess. Rosa, a friend of mine at college was debating an abortion and during our many discussions, pros & cons, she shared Patti's books of poems with me. We'd sit around the apartment and read Patti to one another. Shortly after Rosa delivered her red-haired daughter, Patti's HORSES came out. Life and literature changed because Patti's writings were/are so powerful. Her writings inspired me to research the life and works of Arthur Rimbaud. They will always be linked as one for me, Patti is Rimbaud. So, thanks to the goddess, the desire to research and read great literature was formed. Nothing was/is as real as hearing a great poet sing with a fine rock'n'roll band. -- Phillip Ward
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I was broke and too skinny to sell blood, leafing through bins of records I could ill afford. And then, there she was, staring at me from the cover of Horses. I had never heard of her, never even read about her. But I was a young queer and I couldn't help it: I had fallen in love. And, knowing full well I would have to scrounge up my next meal because of it, I bought the record. What a treat! I laid up all night listening to it and skipped all my classes the next day doing the same. It wasnt long before it seemed it was playing at every dyke house in Austin, such a relief from that insufferable music Olivia Records was putting out! r=3-3sin t, kaos
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Seeing pictures of Patti in Crawdaddy and other music magazines before horses came out. Loved the look - Keith Richards in drag. I remember how excited all the rock reviewers were about her. I didn't remember ever reading such sincere raves from the rock press. I rushed to buy Horses when it came out. I loved it. Played it over and over (for years!). Especially Land (sea of possibilities . . . seize the possibilities). The multi-tracked vocals. I could listen to it over and over and never hear the same song twice. I still hear different lyrics (thank god there was no lyric sheet - it would have ruined the fun!). And Free Money. And Kimberly. Whew. The first time I saw them live was in college in 77 right before Radio Ethiopia came out. They opened AND closed with the song. And learning what Redondo Beach was about ("a beach where women love other women") and her dedication of Pale Blue Eyes (Lou Reed writ this for a Swedish boy he once knew...). Time is on My Side ("tick tock, fuck the clock!"). And that trance she seemed to go into...She was possessed. I never saw anyone like her before, and never since. And (sigh), she's back. John D.
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How I discovered Ms.Pee?? I was this 14 year awld club-kid, surfer kid from Long Beach, CA. I took the "Freeway Flyer" RTD bus every weekend to Rodney's English Disco on Sunset Blvd. in Hollywood. I'd rat my long hair up in the back of the bus like Johnny Thunders. I was a huge Dolls Fan. I loved The Doors, T.Rex, Bowie, Mott the Hoople, Stooges, Alice Cooper, The Stones, Roxy Music etc. That summer, I left home and went to live in Huntington Beach with 3 teenage roomates. One guy was 19. We called him "Dad." The two girls were from Boston and Toni (from Boston) had a copy of a tape of Patti doing a reading somewhere. I think it was Boston. I thought, who **is** this chick? She's filthy, like us! We loved to be "bad" ...good bad, but we're not evil! 'Horses' came out soon after and I played that record endlessly. It was the only LP that all 4 roomates absolutely loved and those songs were our teenage anthems. When Ms.Pee toured, my friend and I saw her at the Roxy and then we were desperate to see her again, so we stole a VW fastback from Sunset Beach and drove to San Diego. Ok ok, so I was a dirt-bag! She danced in the aisles with us in San Diego!! Prior to my 'Rodney's' days ...I loved The Doors and had a huge crush on Jim. Yoko Ono was another of my favorites! In 6th grade I thought she was better and more radical than The Stones and Beatles put together! Ciao, --Yana
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> > > > This suggests an idea for a thread: what was your trigger event > > for falling in love with Patti? And how long did it take? > > As usual, the old rock mags from the 70s--I discovered so much that way. There were all these pictures of Patti, a wild-haired, bright-eyed, rough-looking girl looking sometimes like a boy and sometimes so much like a girl, and they said she did poetry too and that she thought poetry WAS rock and roll and vice versa, I thought MUST FIND HER RECORDS. On a trip to some mall in North Carolina with my folks I found a copy of *Easter.* I was ecstatic to find it. I was entranced and repulsed by her armpits (I was about 14, I guess, just started shaving my legs and pits after getting beaten up at a slumber party for not doing it and having shame reinforced by my mom who at the time was convinced that body hair was unclean). I was almost afraid to buy the record because I was afraid the girl at the counter would think it was dirty and say so, maybe I wouldn't be allowed to buy it, maybe somebody would make a scene...(I was a juvenile delinquent but a very shy one.) But I had that still small voice telling me that I MUST buy this record and if I let being chickenshit stop me I could never call myself a rock'n'roller again. Needless to say, the girl at the counter did not in any way acknowledge Patti's scary armpits or my shaking hands. and once I got it home...I had that feeling of EVENT. My hands were still shaking when I put the needle on the vinyl. "Til Victory"....BLASTOFF! I took it all very literally, of course, knowing even at the time that I wasn't getting everything, that this was the kind of record that I would keep listening to the rest of my life and keep hearing new things in it that I had never understood before because there was SO MUCH going on in it. But man, her victory was my victory, and that's what it felt like. And "Rock and Roll Nigger," my goddess. In my early adolescent lexicon, 'nigger' was a very bad word--not a GOOD naughty word that felt good to say, like "fuck"--it was a really foul one that people used to describe people they didn't like for no reason;like me) and the kids in my school used it in a really ugly way, but this was the first time I'd ever heard somebody take that word and so completely turn it around. To say: "yeah, I'm a nigger too, we're all niggers and--NIGGERS RULE!!!" All the racial issues didn't really register with me because I grew up in a place that was almost totally all poor whites--what registered was: MISFIT LIBERATION. So I think I listened to that album every day for at least six months, until I found copies of her other ones. At night, down in my little "studio" room in the basement I would jump around and dance and play air guitar and pretend to be her and try to write stuff like her and...you get the idea. Like Fiona said, I never went back. So chronogically it probably took me a few months between when I first heard of her and when I actually got to hear her. Once I got the record, it took about the first few bars of "Til Victory" until her voice comes in. blessed be, Monica
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I can't remember where I first heard Patti. I do know that I went out and bought horses-maybe I read about it, I've always read record reveiws, and as soon as I heard it I was off and running, yep. Mostly I thought, my god, she's got brains....AND she's tough and sexy. Oof. Anyhow, in the OCtober issue of Alternative Press, they give Gone Again the highest rating. Mary
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Senior year in Msgr. Farrel HS. The senior lounge was outside one of the priests' office (Fr. Aldo Toss, FWIW) , we'd break into his office to play his stereo...he had a copy of HORSES and naturally it blew me away!!! The sound of Patti blaring out of that office singing, "Jesus died for somebody's sins but not mine..." will forever be etched in my memory. Most of the other guys didn't get it... Ray aka mundo
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How quickly does one fall in love when it's love at first sight? I can't even say 30 seconds. It wasn't a "moment" in a temporal sense, but a Zen moment, which is still happening. I don't remember where I was, but that "knockin on my door" excerpt from "Gloria" captures the moment for me too. I bought the album, listened to it on headphones about 100 times (it seemed) and was hooked on every song. Her second album didn't diminish the attraction one bit. But when she said in her third album: I haven't fucked much with the past, but I've fucked plenty with the future... I am lying peacefully and my knees are open to the sun. I desire him, and he is absolutely ready to seize me...In heart I'm an American artist, and I have no guilt. I seek pleasure. I seek the nerves under your skin....I have not sold myself to God. ...outside of society is where I want to be. Boy, that was "the trigger" that cemented what I already knew and felt about her. I always get chills and tears reading that! As I said, it's a Zen moment that's still happening. -------- But there's this incredible sexual attraction too. Patti and I are almost the same age, and in 1975 my hormones were raging (they're still way too turbulent - like you need to know that). She was physically so sexual and attractive, I fell in love in a more profane sense, back in 1975. Patti's moral/artistic sensibility and her physical body were exactly the combination I wanted in a woman! [Parenthetically, I noticed from last week's chat log: "kaos3: so none of you would stand in my way?" to kaos3's future plan to marry Patti -- well, I'll stand in your way! :-)] As pathetic as it may sound, I met my girlfriend around 1978 and was attracted to her partly because of her physical resemblance to Patti! She was thin, with long dark hair, and cursed and loved poetry and music. When she told me she loved Patti Smith, I was hooked on her too, in a Zen moment. Unfortunately, Patti went away for a long time and I lost track of her. Lucky Fred. ------ Question to the female babelers: is there a sexual element here in your "love" of Patti, as there is with me? (I know there is with kaos3!) Just curious (in a sincerely lecherous way) :-) (or is this a totally tacky subject? ... Hey, this is cyberspace! Let go of your true feelings!) anthonyr
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> > > > This suggests an idea for a thread: what was your trigger event > > for falling in love with Patti? And how long did it take? > > listening to Birdland on 10 hits of acid........ didnt take long robert
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Fiona writes: This suggests an idea for a thread: what was your trigger event for falling in love with Patti? And how long did it take? ------- My brother turned me on to Patti. One night when I came home from work, he played me a tape of Patti from the radio. I was heavily into folk music at the time and regarded the song with distaste. "Big deal. There's nothing special about her." I had read about her in the *Voice* and was expecting more I guess. He finally bought Horses and I sat down with him to listen to it to show him how openminded I could be. By the middle of Side 1, I was in love. When he finished playing it, I took it in my room, put the headphones on and listened to it for the rest of the weekend. When Monday came around, I rushed out to get my very own copy. I'll tell you this, after seeing Patti live the next time she played I never went to another folk concert. I was a bonafide punk rocker. I had my black jeans, white shirt, tie and shredded material wrapped around my wrists like my Goddess. I think now that I'm older, I love her even more because I understand her work more. Pattie K.
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> From: Fiona > > This suggests an idea for a thread: what was your trigger event for > falling in love with Patti? And how long did it take? "re: trigger, silver bullets, and masked women" -- alternative title I heard PHTP when it came out, but no sparks flew. Then a few years later,a coworker (Hey Monica - Wasn't it Bob?) brought in a tape of Horses for me to listen to. Again, no real sparks flew. It wasn't until a few months later, after I'd had this dream involving a horse, that I tracked down a used copy for some odd reason and got hooked on "Land". I loved the lines: "horses, horses, horses, coming in all directions, white, shining, silver, studded with their nose in flames he saw horses, horses, horses...." At the same time I was listening to Nirvana, Hole, Soundgarden, Big Star, Smashing Pumpkins, L7, Kristen Hersh, X-ray Spex ("Oh bondage, up yours!"), and the Breeders. She fit right in. Seeing her in concert "cemented" the relationship, "about a boy" (Live) confirmed it, and this list, such a great list, keeps my patti RDA warm and happy (to quote the Beatles, "happiness is..."). cheers, Douglas and did I mention that Patti Smith is fucking hot! oh my god... kaos, get in line....
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Re: what was your trigger? Too far bck (maybe) to remember. I was very involved in the Cleveland underground scene back then, doing 2 weekly radio shows on WRUW-FM & trying to stay on some sort of a cutting edge. I'd ben seeing bands like The Dolls, Heartbreakers, etc, whenever they came to town, which was pretty often - the Velvets had long ago established CLE to have willing ears! One show that was a turning point w in '75, with Rocket From the Tombs opening up for Television. I'd been a long time Roxy music fan & an even longer 13th floor elevators fan, & here was a band that had Eno producing a version of Fire Engine - I had to go. From there, I'd made enough connections to get news as it happened, & the news was Patti. My best friend since I was 14 had moved to berkeley & worked at a place called Rather Ripped Records, where Patti made her W.Coast Debut playing in their loft! Well, patti played the Agora in Clevo 1/76 & I wa up front - that was the night they brought John cale to play bass on the encore of My Generation & hit him in the face with a cake afterwards - John was as drunk as a skunk ( not my only encounter with John in that condition!) I wrote to her upcoming label Arista & got a test pressing of Horses, along with a cover slick (long ago stolen!). moved to berkeley in '78, turns out that my GF (now wife) also loved Patti - saw her every time she was anywhere near the Bay area. And yes, anytime I saw her I tried to do windowpane!! best, GaryM
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>From Marty: I discovered Patti while I was music director at my college radio station (WBSU, Brockport State, Brockport, NY) in 1975. Horses came across my deck amid a pile of hype from Arista, they didn't need to hype it though, as soon as I heard it I was hooked. That and the Ramones 1st album were like an oasis among the desert of musical crap that was happening all around (Kansas, Peter Frampton, disco, etc.) Up until that point I was living on a constant dose of Stones, Neil Young, Mott & Bowie. There were a few other musically adventurous souls at the station and Horses really brought us together. A few months later, Patti was playing a gig at Brockport and I got the opportunity to interview her live on the air. It almost didn't happen because several of the "powers that be" (students, not faculty) were afraid she was too radical and also, that she might curse on-air. (A ridiculous worry considering we were a carrier-current station, basically a glorified intercom that could only be heard on campus). I was amazed at how conservative my fellow students could be. It proved to be an appropriate lesson for "real life". The interview did happen and Patti was great. I can't remember much of it now, but I do remember asking her how she felt during the photo session for the cover, her answer was "proud". The show that night took place in the "ballroom", a room that held about 500 people sitting down. They were great, of course, opening with the Velvets' "Real Good Time" and finishing with a killer version of "Time Is On My Side". Three days later they were on Saturday Night Live and I was in front of my TV cheering for them to take it to the masses.
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like mary, like a couple of others, i can't put my finger on any defining moment or discovery moment; at some point, she was just there, on my turntable, in my head, under my skin. but i can recall a few things that made me know beyond any doubt that this was not just some ordinary interest in some ordinary artist. i was born in nyc, but a little too late to be seeing psg in the clubs, etc; too much grief from mom trying to get out or sneak out to cb's in '77 when i was 13 and starting to NEED to get up close and personal with rock and roll. when i was in high school, i was a "hippie," or what passed for one 10 years after there was no such thing anymore, meaning i got high, chose my clothes based on the level of retina burn and general popular discontent they would cause to school authorities, parents, and random passersby. i was this way in a very conservative middle class neighborhood, in a high school for eggheads, because i knew in some way i couldn't articulate, even to myself, that i didn't fit there, didn't WANT to fit, that i was outside that society. the music i was mostly into was "hippie" stuff -- pink floyd, this type of drop-acid-and-gaze-blankly stuff. punk and new wave were happening, and there was a punk/nw camp in the school, as small and disaffected as my hippie camp, but the two steadfastly refused to mix. i was one of the few who crossed over, probably refusing unconsciously even to be wholly part of the little rebel society i ELECTED to join. it was in those "cross-over" excursions that i began to hear patti, and she seemed so outside of EVERYTHING, her voice was so distinctive and "wrong," the music so distinctive, not even internally consistent from song to song on any given album; she seemed so ferociously her own that i was drawn in, inexorably; here was somebody i could relate to in my unwillingness to relate to anyone or anything. i never actually saw psg live, officially; the closest i ever got was that show in central park in summer '79; i couldn't get a ticket (don't remember if they were sold out or if i was broke), but i HAD to see her, so i climbed a tree outside the wollman rink, hung in the branches despite the rain, despite the cops who would try to knock you out of the tree on your ass if they saw you, and i was just (trite phrase!) blown away; if there was a "defining" moment, that show-i-almost-sort-of-saw was it. when i was in college, santa cruz california, granola hippie non-conformist deadhead capital of the world, i was in my element, i loved it, loved to listen to live grateful dead tapes all day long. but i was also far from nyc, which was and remains in my blood, and i was too close for comfort to being one of the crowd. so damn near every day or night, at some point before i went to sleep, bitterly complaining room-mates be damned, i had to listen to "radio ethiopia," both sides, as loud as i could get away with. i knew then, too, that this was no ordinary love, so to speak... sorry to blather on so long, skenney.
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Celebrating a winter solstice with a friend, dancing to Poppies and listening to Pissing in a River in a dark room. Dancing to Poppies, the dark seemed laced with invisible ultraviolet and white lights, ripped and molded, centered chaos. A few days later I got Radio Ethiopia, probably one of the last vinyl copies. I felt such palpable magnetism from the photograph on the sleeve, a real stab, but didn't sense any personal significance to me in that, or had too much on my plate at the time to want to. Just seemed like a force that would affect anyone. Some time later, watching a video, I think of a performance in Germany-- This time, hard to describe, I felt no infatuated attraction, not in love, but had a kind of bare bones recognition of a more personal affinity. I sensed something about her past, a mixture of strict religiosity and great mental freedom in her family, similar in ways to my own background. I was also intrigued by the way when light shone on her face from different angles, flickering moment to moment, it would seem by turns porcelain-pure and then ravaged. I found this beautiful, a more than physical reflection of her core honesty and expressive power revealed by the lights. It was late at night and I fell asleep for a few seconds and dreamed I was a mixture of a vampire or snake and a healer, biting someone and sucking poison out of their blood. Sometime over the following month I realized that I was getting obsessed. Soon after, I saw Patti performing live in Ann Arbor, and loved her from the moment she walked onto the stage smiling at Fred. Irena
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For me it happened in '75, I was a student at Berkeley and there was a picture of Patti in Rolling Stone hugging Bob Dylan, who had been backstage after Patti's concert in NYC. I didn't know who Patti was but a couple of weeks later the Patti Smith Group was playing at a bar called the Longbranch across town on a Friday night and I went to check it out. The show was great and I went out and got "Horses" the next day and have been a fan ever since. I was a big fan of Bob Dylan and the Rolling Stones at the time, and Patti was this little woman with big intense eyes whose words were as strong as Dylan's and whose music was as powerful and sexy as the Stones. From that first show I remember three things most strongly: how intense Patti's eyes were, how great her version of "Gloria" was, and the way she sang "Break It Up". Patti had a cold and her voice was hoarse and she was having a hard time singing at the beginning, and during "Break It Up" she was pounding on her chest trying to get the words to come out through her hoarse throat, pounding in time to the music: I saw the boy (bang) break out of his skin (bang) My heart (bang) turned over (bang) and I crawled in (bang). It was like the words were so important to her that she was willing to hurt her body to get the words to come out. Unforgettable. - Mitch
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Catholic all-boys high school. Boston. Two weeks into freshman year, 1979. Suspended for smoking pot under the statue of Mary! For punishment I had to go into school and rake leaves! Out in the smoking area I met a guy name Bill McIntyre. When he found out what I was suspended for, he immediately lit up a joint and played "Jesus died......" Feeling the out of place rebel in a catholic, repressed all boys h.s., those lyrics came on like a mack truck (so did the smoke). We met after school to get stoned again and he played the whole tape of Horses. By the time we got to Birdland, I felt like someone had spread butter on all the fine points of my preconceived notions of the world. In one day, I met my best friend-- and the woman who became and still is the single most important musical influence on my life. Perhaps the biggest influence, period. (As an angst ridden teenager, Nico found a quick spot in my heart as well). Yea, it was the strong, outspoken lyrics, and the rhythm....the hard beat of Free Money and Land and the ethereal quality of Birdland and Elegie. But more than anything, it was simply Patti's voice. I'd never, ever heard anything like it. I felt its power to emote and communicate beyond lyrics. Patti Smith gave me courage, hope (to carry on....) She charmed me, that sweet angel... and made me no longer afraid "to live."
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The first time I heard Patti I was sitting at my kitchen table listening to WABX in Detroit and doing my high school homework. Gloria came on and was like, what the fuck is this, it sounds cool! Bought the record and used to get stoned as hell, put on the headphones and float away to birdland. The first time I saw Patti was in Detroit, 1976 at the Ford Auditorium. It was March 9th. The show was both exhilarating and frightening. There were times that Patti seemed to let go of the fine tether that binds most of us to this world. I was inside her head as she seemed to fall over the line struggling to get back as she humped the marshall amps and writhed on the stage floor rolling and twisted. She did a long intro to either Gloria or Birdland where she compared the shifting sounds of the audience to a flying pack of golden scarbs circling and would then slap another tape into her head for a new scenario. She ended with her bone-crushing version of "my Generation" that The Who circa '66 probably couldnt have matched. I walked out dazed from the spectacle and the changes that I had just been dragged through. Hooked ever since. Mark Faigenbaum
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My first encounter with Patti Smith's work was also in the context of college radio, though much more recent. Several years back I became involved with the radio station at my school. As a timid freshman, I was terrified of the older students who ran the station. They seemed so powerful then. Almost godlike. One of them in particular, commonly refered to as Betch (an accidental corruption of Becky and bitch) would call my show from work every week to request songs. One week she called in for "Dancing Barefoot" and although my partner and I had never heard the song, we didn't dare to disobey her. The song became a staple of our show, but it was the song I knew and not the artist. The only other album we had was Dream of Life which did little for me and still doesn't; it seems almost too easy. So that was the end of Patti - for then. My sophomore year I studied in France. Following the advice of the program that we should try to avoid all contact with the English language, I left my tapes behind and planned on discovering some interesting francophone music. Big mistake. It took several months before I realized that my feelings of isolation were due at least partly to the loss of contact with the musical world. A Scottish classmate took pity on me and offered to share her stash of evil contraband English-language music with me. Very little of it interested me, but my heart leapt when I saw a tape marked "The The" and I immediately ran off to the hills to listen to my new treasure. The tape, however, was at the beginning of the b-side, and what I found instead was Horses. Oh, happy mistake! Last year, as station manager of the same college station where my love of Patti began, it was my turn to call the unsuspecting dj's and make requests. Christy
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My love affair begain as an accident. In 1976, when I was 18 and home on break from SUNY at Buffalo, I went to a PS show at "My Fathers Place" in Roslyn, LI, NY. A brother of one of my friends had extra tickets and said we must go. We sat at the table directly in front of the stage and after the third or fourth song, Patti threw her drink on me and most of the table. It was love at first drench ! Regards/Steve
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flashes of images: me listening to 70s glam rock in my room. alone. of course. fiddling with the radio knob. finding my first taste of college radio (philadelphia style.) hearing bits of land through the static. weirded out by the sounds. storing it for later digestion. seeing pictures of patti!/ramones/blondie in rock scene. reading about patti all the time in creem/crawdaddy/circus. didn't buy horses yet, bought ramones instead. tacked pictures of patti on my lime green bedroom wall. didn't buy radio ethiopia. worried about her neck. bought the single of because the night. got stoned with a friend and played it forty times in a row. went to see her at my dinky community college. me and 150 freaks. cried and swelled. got an autograph. saw her on mothers day in philly when she sang tomorrow to her mom. cried alot. somewhere in the midst of all this i got hooked. now i make my kids listen to her almost constantly. she makes me so happy to be alive. mjsullivan sullivanm@nku.edu
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my trigger? i guess you could say it was purely by fate. i always had a guitar in my hand and a pen in the other. i was always trading records at this resale shop. 2 bucks a pop. i came across this record called horses. unreal. i mean she wasn't a knock out blond or some other kind sex symbol with a guitar in her hands that she could not play PATTI represented me. being a woman in a man's rock world is really hard. It is especially hard when your 15 and not popular in dress and looks. PATTI helped me see who i could be. I still rock with the best of them and I don't need a skimpy leather outfit to do it. Laura, rockin' in Cleveland
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Well, I guess it's my turn. My brother kind of turned me on to Patti's music. I hadn't heard any of it, just heard of it, so I decided to start at the beginning. I found a copy of Horses at my favorite used cd shop and got it for eight bucks. It was the best eight bucks I ever spent. Just like Stipe, and all of the other's who were drawn in by her voice and lyrics and music, those first few words grabbed me and pulled me into her art. I guess that's what has really struck a chord with me, her unrelenting artistry and her belief in the power of rock music. These were ideas that I had started to form myself, and then to find a person who was doing it changed my life. She is one of the reasons that I am interested in being in the industry, so I can continue along the path that she has marked. Too much of today's music is centered around sales and not art, and while this is a fundemental that will probably never change, the ratio can certainly be altered. So, Bravo to you Patti. Thank you for all that you have given to me and to us. I can only hope that I will be able to follow your lead. -dave PHTP
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The first time I heard about Patti was from an article in the New York Times by John Rockwell (I used to wonder if this was a fictitious name). He wrote a series of glowing articles pre and post Horses. Then I heard a great NY DJ named Meg Griffin - I forget the station - playing Gloria and Piss Factory, along with Ramones, Television, Talking Heads, and import singles by the Sex Pistols, Clash, etc. At about this time my faith in rock 'n roll was wavering. The 60's were over, the War was over, Nixon was out. The music on the radio generally sucked. I didn't know if it was the lousy music that was the problem, or if I had outgrown rock n' roll...a terrifying thought! But then came Patti to revive me - and rock n' roll. Of course after listening to Horses I was hooked, but the clincher was seeing Patti live for the first time. I lived in Stamford CT at the time, and for some reason was in a part of town I rarely visited. In the front window of a little pizza shop was a poster of Patti's upcoming concert in Westport.(this was March of '76) It was the only mention of that concert I ever saw. By pure luck I stumbled upon that poster, ended up with third row tickets, and was enthralled by Patti from the moment she took the stage to do Real Good Time Together. Of the ten times I saw her in the mid to late 70's, that is still my favorite performance. Shortly thereafter I got Teenage Perversity & Ship In The Night, which closely matched the set list from her Westport concert, including my favorite song from that night - Ain't It Strange - which I prefer on Teenage...to the version on Radio Ethiopia. Patti put her finger on my trigger then, and things haven't been the same since. Phil
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Okay, here's my Patti trigger. So I am this really wild, weird kid growing up in New Jersey in the 1970s. Obsessed with Bowie, Mott the Hoople, Alice Cooper, Dolls, Stones, Lou Reed, etc. Then by the middle of the decade music becomes pretty dead. A lot of the glitter bands turn sort of lame (from what I remember) and I snoop around for something new and interesting while taking abuse from a school full of deadheads and jocks. In 1975, while browsing around this strange comic-book/porn-shop (I was really into underground comix) on 42nd Street, I stumble upon the first issue of Punk with Lou Reed as Frankenstein on the cover. I buy it of course--I mean, at the time, I actually think I _am_ Lou Reed. Read and dig this hilarious interview with him, then see stories on the Ramones and Television. I think it's a joke--sort of like Mad magazine or the Lampoon. I call Punk and they told me it isn't. I go to the Gotham Book Mart and buy the Little Johnny Jewel single. See a Patti poetry book, look at it but don't buy it--the Punk guys hadn't mentioned her. So I'm hanging out, getting the magazine, reading the second issue with Patti on the cover and pretty much wig out. I think she looks incredibly cool, sounds outrageous, etc. I check out some of her articles in old Creems. Sort of forget about her. Then during the latter part of the year, I'm out with my friends--playing pinball at Willowbrook Mall, getting spurned by girls--get home and turn on the little FM radio near my bed. WNEW is broadcasting Patti Smith live from the Bottom Line. I've missed most of the concert, but I catch the last few songs along with an amazing My Generation with John Cale sitting in. I totally connect with her, go to Grand Way the next morning and buy Horses. It is, of course, incedible. Totally life altering. See her for the first time at the Meadowbrook Dinner Theater in NJ in late '75. Many concerts follow. Things really crytalize for me--largely Patti-inspired--and I realize that I can do whatever I want with my life. And I do... Of course there's more but I won't indulge yoyr patience any further. --Michael Kaplan
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My love for Patti came to me like a stigmata, an imprint of something intensely real but intangible. It was kind of like the feelings I wrote about in my "Pissing in a River" response awhile ago--a merging of spitirual, intellectual, and sexual, a submersion into the indecipherable, a giving forth of something creative as a sort of purging and transforming. When I first realized my love for Patti, several years ago, I was listening to Radio Ethiopia, the first Patti album I bought. Before this, I had felt ashamed at being female and had never experienced any real desire, having lackluster, superficial relationships with men in an attempt to be "normal." I was getting involved in goddess religions, but it wasn't until I started listening to Patti that I actually felt good about being a woman. "Pissing in a River" and "Poppies" immediately stirred me as no other music or work of art had done. I began to realize something which was hard for me to accept and understand, something which became even more apparent and harder to deny the more Patti records, articles, and pictures I collected--I realized that until that encounter with Patti's music I had never really known what it was like to be in love or feel a passion to create something out of the energy of this love. With her inspiration I felt a renewed commitment to write from the viscera and not be so afraid to reveal my vulnerability. As Fiona and others have said, once I fell in love with Patti, I have felt this way ever since. Alison
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I was a college student in the early 1970's. A friend told me about an article in a music magazine about "some punkette" who tries to look like Keith Richards. I was intrigued since the Rolling Stones were the GREATEST ROCK AND ROLL BAND IN THE WORLD (my opinion at the time). I got tickets to see The Patti Smith Group at the Bottom Line and I was knocked down, bowled over and instantly consumed by this goddess. I fell in love with her voice INSTANTLY. I bought every album I could afford (especially great is the bootleg, Teenage Perversity and Ships in the Night). I tried to see every show I could as well. My Father's Place, CBGB's 2nd Avenue Theater (anybody remember the Fire Department closing the place), Palladium (I still kinda expect to spend New Year's Eve with Patti-maybe this year), The Elgin Theater and of course CBGB-OMFUG were just some of the venues. My appreciation for Patti's poetry actually came after consuming all of her albums and accidentally finding a copy of WIT. What luck!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Like the rest of the "babel-listers" I never stopped loving Patti's music, lyrics, vocals and especially her ________________. (fill in the blank as you wish - or just leave it at I LOVE HER). Jeffrey (I hope you can read this) Stromberg
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I've been thinking about this thread and I can't really come up with any defining moment when I can say "here is where Patti's music/words came to mean so much for me." But that may be good: It's often true that the things that take the longest to take hold in my mind are those things that take root the strongest and hold longest. My appreciation for patti's work probably was the result of several very slow bullets to my brain that finally coalesced into an active awareness. No exposure to Patti while growing up. Here on the mid-Connecticut shore there was almost no influence from anywhere other than the three main radio stations that were beaming our predetermined tastes to us from Hartford and New Haven. In high school from '74-'78 it seems most of my friends had similar record collections, and I can't recall anyone that had any knowledge of Patti, Television, Ramones, Velvets, Iggy, or anything else out of the mainstream--how can you appreciate what you've never been exposed to? My record collection was a little different, since I listened to C&W until my senior year, when the commercial sort of country that was being played (remember all those CB songs?) finally drove me nuts. But I do remember seeing one news report on television showing the Sex Pistols and thinking there was no way it could last. College from '78-'82 on the east end of Long Island was nearly as insulated as Connecticut was. By that time I was firmly into an ELP/Yes/Genesis/Tull sort of rut and my four years on the college radio station generally ran along those lines. Another one of the DJs, though, always ended her show by playing Wave and dedicating it to a friend of hers that had committed suicide. I was learning to play bass by playing along with records, one of which was the Times Square soundtrack. Pissing In a River, while not the most challenging basswise, became one of my favorite songs on the record. Early- to mid-80s I had gotten mightily sick of prog/art rock and most of the mainstream stuff. Punk was starting to finally "make sense" and I began to dig around to discover what I'd been missing. Mid-80s I bought a compilation album called Rock at the Edge, which includes Gloria and the live take of My Generation with Cale on bass. Sometime in the mid-80s Rolling Stone ran one of their regular fluff pieces about the 100 best albums of all time or some such thing. Among the albums it caused me to buy was Horses. Mid- to late-80s I took a part-time job at a local commercial radio station because I missed doing radio. It quickly proved to suck big-time. I began to realize just how much commercial radio attempts (and largely succeeds) in trying to tailor listeners' tastes. I had *very* little freedom in what I played, and when it got to the point where they color-coded the clock (if it's the pink section of the hour, play the first song from the pink index card file; if it's the blue section, play the first song from the blue index card file . . .) I finally quit in disgust. I'm not sure how this fits in with my Patti awareness, but it does, somehow. Mid- to late-80s I had a job at a print shop doing proofreading and paste-up (what else does one do with a biology degree?) and one of the salesmen was a Patti fan. When Dream of Life came out he let me borrow his copy. Sometime around here I also went back to college part-time to study art, and the tastes of those around me were more wide-ranging than the first time I went to school. The bits were coming together and finally I bought Radio Ethiopia. It's gotten to be the album that I can burrow inside of, pull the ladder in, and shut the door behind me. I bought the rest of her albums and had gotten some of her poetry books. My Patti appreciation grew to the point that when I became aware of the '93 Summerstage reading I was *very* excited and made plans to take the day off from work and head down to NYC despite the worst heatwave in recent memory. If you can find a trigger in all that mess, you're doing better than I am . . . I think it's more a case of Patti rising to the top during my attempts to discover what sorts of music *really* appeal to me, as opposed to those tastes that were somewhat dictated by mainstream radio. --Bob Farace [and the mid-Connecticut shore is *still* mostly clueless!]
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first time around, patti was in my pantheon, but one of many... i was more pseudo-punk, a huge clash fan (still am!), into mink deville, the bush tetras, e.s.g., cocteau twins, the fall, gang o' 4, many others my fried cells can't recall right now...there was so much good stuff all over da place then. (kinda like it's getting to be now! i'm glad to say.) patti was most definitely up there, but not a reason to live. (though i was one of the few who bought & loved DOL when it first came out.) i must say what fired me up to the level of flame i now hold for the gal was...yes...babel-list! surfing around, looking for music lists, saw babel and said, yeah, patti smith, she was so fabu, let me check this out! and it was the perfect time, just before gone again, the level of discourse was so excited, reminded me of how GREAT she was. i got GA and the box set and listened to it all for the first time at length. and i could not stop! and i still can't! i swear she/they never did a bad piece! i saw them at irving plaza (2nd show) & felt completely transformed, informed, re-born. (the friend i went with saw her a few times in the early days and said she was better than ever, and boy could i belee dat!) maybe it's an age thing, i dunno. i appreciate depths in her work that i just didn't as a callow youth. back then i maybe sorta a little bought the image exemplified by gilda radner's impression. (though totally wrong, still very funny!) And truth be told, i was out of touch with my own fears and timidities, i think i was too scared of the world and my place in it (not that i'm not still, but a little less so...) and patti was just so bold in making a place for herself on her very own terms and insisting that everyone could do just that. i guess i was afraid to listen too deeply to that challenge/offering. but now i'm ready! (better late than never, eh?) now, everything psg does speaks to me, inspires me with the knowledge that the creative flow NEVER stops, as long as you're willing to go with it and not get scared. (the last part is the hardest, still, for me.) as a late-bloomer (i hope) who sometimes loses faith, i heard the message just when i needed it most... ain't life funny that way? :} lkg
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It all started back in '74 while working at a movie theatre in New Jersey. I was always into music differant types ranging from Doors, Alice Cooper, Dylan, Jethro Tull etc. I started talking w/the projectionist who was also into music and he had been seeing some women perform in the city which was knocking his socks off. Mentioned her to me and thought I'd like her stuff. I was too young yet for CBGB's and the other clubs. On to 1975 or 76 Seaside Heights, Boardwalk, Games, Patti Smith Album. Have to win it and I did! Thats where it started. Played it as soon as I got home and have been hooked ever since. Well in 1979 I had the chance to talk w/Patti one on one. She performed at the College I was attending Montclair State. I had written poetry for her and gave it to a friend who was on Security to give her. He came out and said she would like to talk to you. Who said dreams don't come true. Felt like a dream, maybe it was. Patti was very cordial, offered me some ziti, picked up the poem smiled. Then we talked about what she was reading, it was a book by one of the Popes. I think it was the current one but not sure. She mentioned that she was dating Fred Smith from the MC5, I remember how happy she was and I wished I could find someone who could make me that happy. (I did!) The boys were all just hanging out I remember Richard, Lenny and Jay Dee in the back of the room. Patti gave me a R n R Nigger button and signed my Ticket stub Till Victory Patti Smith refm. Still have it. So in 1986 I moved from New Jersey to Michigan. The move was so much easier knowing Patti lived here. Saw Patti over the years at many benefits and with her kids at Detroit Institute for Arts. Last spoke w/Patti at Hill Auditorium and mentioned how good it was to see her and that I hadn't spoken w/her since 1979. Patti said "and we're still here". Yes we are! We're going to miss her out here, but if we ever move back east it will make that move a little easier. Don Gibson
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for me it was always the words..........I was in junior high and my english teacher gave me a copy of "Babel." It was my "Catcher in the Rye." It was my "Less than Zero." I carried it everywhere. She had the words where I did not and my life has never been the same. It was one of those defining moments that take away the breath. Later, it was Easter that got me pumpin' and lead me back to her earlier works. The voice behind the words blew me even further. My parents eventually confiscated my copy of "Babel" and the english teacher took me to bed. aaahhhh, youth. Daniel
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It began with the cover photo of HORSES. It was 1975 -- I was 19, living in Berkeley in a notorious co-op house nationally (if not world) renowned for drugs, parties, music, and punk culture, and we spent a lot of time looking for cool stuff for the house stereo. You actually had to go out and listen back then; there were fewer FM rock radio stations and MTV hadn't been invented yet. So there I was combing the record bins at Leopold's, and suddenly I came upon HORSES. I was transfixed. Whoever this was, whatever her music might be like, I was in love, and took it home on the spot. I didn't really have much of a refined appreciation of fine arts photography then, and I had never heard of Robert Mapplethorpe, but the photo was like a lightning bolt to my 19-year-old ambisexuality, and combined with the brash genderfuck of "Gloria", well, nothing has really affected me in that particular way since. (And to think the cover photo almost didn't get past Clive Davis of Arista!) HORSES became an instant house favourite, and when I played it loud, with my door open, it created instant converts (just like Fiona wandering down her dorm hallway, no doubt). I think I played about 3 copies to death over the first couple of years, and ditto with RADIO ETHIOPIA and EASTER. Somehow I missed her on her first trip to the Bay Area -- she played the Longbranch, I think, or maybe Freight & Salvage? I good friend of mine at the time went, and came back and described it as almost a religious experience. The songs of the first three albums have imprinted themselves indelibly on me over twenty-plus years -- I find myself humming, and then, almost subvocally, singing "leaning on the parking meter/humping on the parking meter" or "a... branch of coral flame" or "the little match/in the void went 'flash'..." It was pretty amazing. It still is. -- Michael C. Berch mcb@postmodern.com
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Late 1991: I was fifteen. At my aunt's house, rocking her baby to sleep. She suggested playing music to wind him down. I looked through her CDs; I didn't want to play Springsteen or Grateful Dead, I'd already heard Tracy Chapman and Talking Heads, and I wanted something new. Then I saw Horses and Dream of Life. I'd read interviews with Michael Stipe that namechecked Patti Smith, and here was my chance to listen to her without shelling out for an album sight unseen. My aunt warned against Dream of Life, so I put on Horses. The first line floored me; by the middle of Gloria, I was dancing around and my cousin was wide awake. Kimberly put into words what I felt for the little boy in my arms. Within weeks, I bought all five albums on vinyl. I whispered the liner notes to Radio Ethiopia every night after my brother (with whom I was sharing a room) fell asleep. Then we moved, and I didn't have the chance to listen to my records so often. I didn't think about Patti much, but reading the poetry I wrote then, I see her sneaking into so much of my writing. It took a few years before I realized that I started writing poetry within days of hearing Horses of the first time. Late 1993: I was visiting my aunt again. Reading _From the Velvets to the Voidoids_. I learned that Patti was born the day before my mother, and grew up not too far away from her. (This was a few years after my mom died, and I was looking for her in everything.) I was so confused; Patti could have been my mother, but she looked just like me! That weekend, my uncle dragged out an old box of 7" singles from his college days in Cleveland. All these bands I had been reading about turned real as I flipped through the stack. Then, in the back of the box, I found Because the Night. God, she was beautiful. When my uncle wasn't looking, I slipped that gem under my shirt. I stared at that picture sleeve until I was sure everyone had gone to bed, and then I played Godspeed. And I played it again. For maybe an hour, I just let that song seduce me, snapping back to real life only when I had to drop the needle again. A quiet song that refused to be mellow. More intensity than anything I'd heard since Country Feedback. That's when I knew. M.J. Fine
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When I hold you in my arms and I feel my finger on your trigger I know nobody can do me no harm - John Lennon
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(Michael Bracewell, Institute of Contemporary Arts, London interview May 31, 1996) Famously you're a great fan/devotte of Arthur Rimbaud. How did his work find its way into your life? It's sometimes quite difficult to find. (Patti Smith) When I was 16 I really wanted a boyfriend but I didn't like the way the boys looked in my neighborhood. They didn't really appeal to me and so, I mean I don't have any other excuse, I found a copy of Illuminations and he was on the cover and he was just my kind of guy. And I liked the word "illuminations", it is a beautiful word. But I looked at him and it was love at first sight, so I got the book, and I opened it up and I read it, and I have to admit I really didn't comprehend or couldn't decode what he wrote but my instinct and whatever abilities I had to comprehend knew that the writing was beautiful, even in translation. I could feel, or I was seduced by the language. I really think great art is seductive on various levels. You don't have to be able to understand art. I mean if you're touched by it, if you feel any kind of sensual or cerebral response, it's done its work. I couldn't tell you what Bird In Space means, or what Pollock meant in Blue Poles, it's not necessary. I don't really know what Bob Dylan was talking about in Desolation Row, but it doesn't really matter, it just brings out a certain abstract response that's authentic. That was my first meeting with Rimbaud. I spent years reading and re-reading him until his work became, was, now I read it and it's just like reading the newspaper. I've finally been able to get it.

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