Whilst these records were being conceived, rehearsed, recorded and produced, Thom Yorke and Stanley Donwood made hundreds of images. These ranged from obsessive, insomniac scrawls in biro to six-foot-square painted canvases, from scissors-and-glue collages to immense digital landscapes. They utilised every medium they could find, from sticks and knives to the emerging digital technologies. The work chronicles their obsessions at the time: minotaurs, genocide, maps, globalisation, monsters, pylons, dams, volcanoes, locusts, lightning, helicopters, Hiroshima, show homes and ring roads. What emerges is a deeply strange portrait of the years at the commencement of this century. A time that seems an age ago - but so much remains the same.

The Routledge Handbook to the Music of Alfred Schnittke is a comprehensive study of the work of one of the most important Russian composers of the late 20th century. Each piece is discussed in detail, with particular attention to the composer's groundbreaking polystylism, as well as his unique approach to musical symbolism and his deep engagement with Christian themes. This is the first publication to look at Schnittke's output in its entirety, and for most works it represents either the first ever published analysis or the first in a language other than Russian. The volume presents new research from the Ivashkin-Schnittke Archive at Goldsmiths, University of London and the collection of Schnittke's compositional sketches at the Julliard Library in New York. It also draws on the substantial research on Schnittke's music published in the Russian language. Including a work list and bibliography of primary and secondary sources, this is an essential reference for all those interested in Russian music, 20th-century music and performance studies.

Ravel composed the original piano version of this piece in 1899 after resuming his studies at the Paris Conservatory. It was published the next year and became an overnight success. Despite some self-criticism of his youthful work for being "poor in form," Ravel thought well enough of it to prepare an orchestral version in late 1910, which was given its premiere under the baton of Henry Wood at the Manchester Gentlemen's Concerts on 27 February 1911. This newly-engraved critical edition will be appreciated by Ravel fans, students, and conductors everywhere.

In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley's The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven's harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter's incidental music to Goethe's Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber's Euryanthe as offering the most progressive musical characterizations and declamation-even more so than his popular work Der Freischutz-and on how both works prefigure Wagner's music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven's, top honors for creating in Midsummer's Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer's Robert the Devil paints a mental image of art's eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert's Alfonso and Estrella are too easily overlooked because of the music's melodic and lyrical supremacy; and offers in contrast Auber's Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini's Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu's White Lady as a sublime depiction of literary music, and Donizetti's Favorite as colored with a special type of imagery, a laterna magica, in Liszt's hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr'acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a "palate cleanser." This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support-financial, literary, and musical-helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation's identity,as well as a thorough study of Liszt's concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr'acte music is presented-how it began and how it developed-to clarify Liszt's stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.

This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music's social spheres, the emergence of music publishing, and the potential of digital musicology research.

Appearing in early 70s New York City as primal prototype street punks, Suicide are now hailed as one of the most important and influential groups of the 20th century, inspiring that decade's major musical movements but too feared and shunned to be awarded their rightful acclaim at the time. Confronting shocked audiences with their electronic "New York blues", singer Alan Vega and instrumentalist Martin Rev fearlessly mirrored the city's sleazy underbelly and decay on blood-freezing gutter-scapes such as 'Ghost Rider' and 'Frankie Teardrop' while invoking doo-wop purity on timeless love songs like 'Cheree' and 'Dream Baby Dream'.The book charts Suicide's uncompromising roller coaster from formative days in performance art and avant garde experimentation to chaotic early shows at drug-infested downtown hotbed the Project of Living Artists.Along with detailed accounts of Suicide's influences, contemporaries and environment which spawned them, the book will position the duo as one of New York's most pivotal but derided outfits as the story moves through their pioneering first album, 1978's shockingly violent UK tour supporting The Clash and subsequent recordings, live sorties and respective parallel solo careers, going up to the present day. The author's eye witness accounts and extensive first-hand interviews with Alan Vega and Martin Rev are joined by conversations with producers Craig Leon, Marty Thau and Bob Blank, contemporaries including Blondie, Jayne County and the New York Dolls and fans such as Nick Cave, Bobby Gillespie and The Clash; adding to a definitive account of this most unique group. With an introduction by Lydia Lunch

This is a music autobiography to remember. This is the story of Martyn Ware. The Human League and Heaven 17 were among some of the most pioneering bands of the 1980s, with Ware having played an integral role in each of their numerous successes. A young lad from the heart of post-war Sheffield, Ware formed The Human League a few years out of school in his early twenties. Described by David Bowie as 'the future of music', it wasn't long before the band become known for their innovative and infectiously catchy singles such as 'Being Boiled', touring with the likes of Siouxsie and the Banshees and Iggy Pop before Ware's departure. Heaven 17 followed suit, with their soon-to-be classic albums, Penthouse & Pavement and The Luxury Gap, featuring several colossal hits. Ground-breaking icons in new wave and synth pop, both groups remain some of the biggest-selling bands across the UK and worldwide. In Electronically Yours, Martyn takes us through his incredible route to stardom; from his austere upbringing in various council houses and close teenage friendship with former-bandmate Phil Oakey, to the white-hot experimentation in the 'Synth Britannia' era and his production career, which allowed him to work with some of the world's greatest singers, including Tina Turner. But it's not just his life inside the industry which is compelling; a proud socialist, Martyn writes poignantly about politics - how it can be a soulful, personal, moral duty - and its role in his music creation and Britain today. With charming meditations on culture, humour, travel and sport, Martyn also shares his love of 60s films, explains why Venice is the most beautiful city in the world, and reveals how Sheffield Wednesday has forever been his first and eternal passion. A huge page-turner and always warmly told, Electronically Yours sees Martyn talk candidly for the very first time about his extraordinary journey. Discover amusing anecdotes, raw confessions, and moving reflections of a life well and truly lived at the height of the music industry.

Quyen Van Minh (b. 1954) is not only a jazz saxophonist and lecturer at the prestigious Vietnam National Academy of Music, but he is also one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognized as the "godfather of Vietnamese jazz." Playing Jazz in Socialist Vietnam tells the story of the music as it intertwined with Minh's own narrative. Stan BH Tan-Tangbau details Minh's life story, telling how Minh pioneered jazz as an original genre even while navigating the trials and tribulations of a fervent socialist revolution, of the ideological battle that was the Cold War, of Vietnam's war against the United States, and of the political changes during the Doi Moi period between the mid-1980s and the 1990s. Minh worked tirelessly and delivered two breakthrough solo recitals in 1988 and 1989, marking the first time jazz was performed in the public sphere in the socialist state. To gain jazz acceptance as a mainstream musical art form, Minh founded Minh Jazz Club. With the release of his debut album of original compositions in 2000, Minh shaped the nascent genre of Vietnamese jazz. Minh's endeavors kickstarted the momentum, from his performing jazz in public, teaching jazz both formally and informally, and contributing to the shaping of an original Vietnamese voice to stand out among the many styles in the jazz world. Most importantly, Minh generated a public space for musicians to play and for the Vietnamese to listen. His work eventually helped to gain jazz the credibility necessary at the national conservatoire to offer instruction in a professional music education program.

This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration. Featuring chapters by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work. -- .

The Beatles are the biggest band there has ever been. James Bond is the single most successful movie character of all time. They are also twins. Dr No, the first Bond film, and 'Love Me Do', the first Beatles record, were both released on the same day - Friday, 5 October 1962. Most countries can only dream of a cultural export becoming a worldwide phenomenon on this scale. For Britain to produce two on the same windy October afternoon is unprecedented. Bond and the Beatles present us with opposing values, visions of Britain and ideas about male identity. LOVE AND LET DIE is the story of a clash between working-class liberation and establishment control, and how it exploded on the global stage. It explains why James Bond hated the Beatles, why Paul McCartney wanted to be Bond and why it was Ringo who won the heart of a Bond Girl in the end. Told over a period of sixty dramatic years, this is an account of how two outsized cultural monsters continue to define our aspirations and fantasies and the future we are building. Looking at these touchstones in this new context will forever change how you see the Beatles, the James Bond films and six decades of British culture.

Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky's music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer's different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky's performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.

An investigation of the considerable influence of Wagner's stay in Zurich from 1849 to 1858 -- a period often discounted by scholars -- on his career. When the people of Dresden rose up against their king in May 1849, Richard Wagner went from Royal Kapellmeister to republican revolutionary overnight. He gambled everything, but the rebellion failed, and he lost all. Now a wantedman in Germany, he fled to Zurich. Years later, he wrote that the city was "devoid of any public art form" and full of "simple people who knew nothing of my work as an artist." But he lied: Zurich boasted arguably the world's greatest concentration of radical intellectuals and a vibrant music scene. Wagner was accepted with open arms. This book investigates Wagner's affect on the musical life of the city and the city's impact on him. Mathilde Wesendonck emerges not as Wagner's passive muse but as a self-assured woman who exploited gender expectations to her own benefit. In 1858, Wagner had to flee Zurich after again gambling everything -- this time on Mathilde -- and again losing.But it was in Zurich that Wagner wrote his major theoretical works; composed Das Rheingold, Die Walkure, and parts of Siegfried and Tristan und Isolde; first planned Parsifal; held the first festival of his music; and conceived of a theater to stage his own works. If Wagner had been free in 1849 to choose a city in which to seek heightened intellectual stimulation among the like-minded and the similarly gifted, he could have come to nomore perfect place. Chris Walton teaches music history at the Musikhochschule Basel in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

This is the first scholarly work to document the musical life of Joseph Holbrooke, one of Britain's most prolific and controversial composers during the first half of the twentieth century. Holbrooke was outspoken on many issues, including the maligned fortunes of British composers, which he believed were brought about by apathy and indifference on the part of critics and the public. Despite doubts in various quarters over Holbrooke's ability to forge a unique compositional idiom, many of his works were performed to critical acclaim in Britain, Europe, and the United States. Today, Holbrooke's music is increasingly enjoyed and recorded. Joseph Holbrooke: Composer, Critic, and Musical Patriot opens with a biographical overview of Holbrooke that concentrates on his relationship with Granville Bantock and Wales and the role that Lord Howard de Walden played in Holbrooke's work and development. Contributors offer studies of a selection of repertory by Holbrooke, including his chamber music, the operas Pierrot and Pierrette and The Enchanted Garden, and his tone poem "The Raven." The final chapter describes Holbrooke's patriotism by examining his book Contemporary British Composers, which was published in 1925. Included is an appendix that provides the first comprehensive and corrected list of Holbrooke's compositions. This book will interest not only musicologists, musicians and listeners interested in the repertory of the British classical music tradition but also scholars and general readers interested in the ways Celticism, poetic inspiration, and nationalist ideology were expressed in the work of classical composers in the early twentieth century.

Women's Music for the Screen: Diverse Narratives in Sound shines a long-overdue light on the works and lives of female-identifying screen composers. Bringing together composer profiles, exclusive interview excerpts, and industry case studies, this volume showcases their achievements and reflects on the systemic gender biases women have faced in an industry that has long excluded them. Across 16 essays, an international array of contributors present a wealth of research data, biographical content, and musical analysis of film, television, and video game scores to understand how the industry excludes women, the consequences of these deficits, and why such inequities persist - and to document women's rich contributions to screen music in diverse styles and genres. The chapters amplify the voices of women composers including Bebe Barron, Delia Derbyshire, Wendy Carlos, Anne Dudley, Rachel Portman, Hildur Gudnadottir, Mica Levi, Winifred Phillips, and more. From the mid-twentieth century to the present, and from classic Hollywood scores to pioneering electronic music, these are the stories and achievements of the women who have managed to forge successful careers in a male-dominated arena. Suitable for researchers, educators, and students alike, Women's Music for the Screen urges the screen music industry to consider these sounds and stories in a way it hasn't before: as voices that more accurately reflect the world we all share.

Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence.

This book delves into the aural splendor of the Beatles' discography, breaking down each song and taking a close look at how the group's music sounds through headphones rather than external speakers. Mistakes, studio chatter, secret meanings and other audio esoterica are all identified and discussed. Thousands of books have been written about the Beatles' music, but this is the first to look at their discography through the prism of headphones, which yield a unique, artistic listening experience. The author argues that the Beatles should be heard through headphones to appreciate the real depth of their musical creativity and to fully understand the timeless songs that remain influential to this day.

Well before she married Robert Schumann, Clara Schumann was already an internationally renowned pianist, and she concertized extensively for several decades after her husband's death. Despite being tied professionally to Robert, Clara forged her own career and played an important role in forming what we now recognize as the culture of classical music. Becoming Clara Schumann guides readers through her entire career, including performance, composition, edits to her husband's music, and teaching. Alexander Stefaniak brings together the full run of Schumann's concert programs, detailed accounts of her performances and reception, and other previously unexplored primary source material to illuminate how she positioned herself within larger currents in concert life and musical aesthetics. He reveals that she was an accomplished strategist, having played roughly 1,300 concerts across western and central Europe over the course of her six-decade career, and she shaped the canonization of her husband's music. Extraordinary for her time, Schumann earned success and prestige by crafting her own playing style, selecting and composing her own concerts, and acting as her own manager. By highlighting Schumann's navigation of her musical culture's gendered boundaries, Becoming Clara Schumann details how she cultivated her public image in order to win over audiences and embody some of her field's most ambitious aspirations for musical performance.

For years, Todd Snider has been one of the most beloved country-folk singers in the United States, compared to Bob Dylan, Tom Petty, John Prine, and dozens of others. He's become not only a new-century Dylan but a modern-day Will Rogers, an everyman whose intelligence, self-deprecation, experience, and sense of humor make him a uniquely American character. In live performance, Snider's monologues are cheered as much as his songs. But never before has he told the whole story. Running the gamut from personal memoir to shaggy-dog comedy to rueful memories of his troubles and triumphs with drugs and alcohol to sharp-eyed observations from years on the road, "I Never Met a Story I Didn't Like" is for fans of Snider's music, but also for fans of America itself: the broad, wild country that has produced figures of folk wisdom like Will Rogers, Mark Twain, Ambrose Bierce, Tonya Harding, Garrison Keillor, and more. There are storytellers and there are performers and there are stand-up comedians. And then there's Todd Snider, who is all three in one, and something else entirely.

Clarinetist Kenny Davern ranked among the best jazz musicians for over 50 years. The unique and instantly recognizable sound of his clarinet, coupled with a wide ranging intellect and quick sense of humor drew praise and applause and endeared him to his fans and friends. The Life and Music of Kenny Davern tells the story of this fascinating musician who had a vision of how he wanted his music to sound and who persisted in the face of adversity until he achieved that vision. Edward N. Meyer conducted interviews with friends, family, colleagues, and critics of Kenny Davern, as well as the man himself, to gain a comprehensive and personal narrative of the artist's life. Beginning with the tragic events that shaped his early life, Meyer traces Davern's growth from a young boy raised in an atmosphere of conflict into an acclaimed, self-assured musician and a warm and loving husband and father. Meyer describes the state of the jazz music business in the last half of the 20th century and fully establishes Davern's status within that scene. Meyer also explores a side of Davern that the public never saw: Davern's hunger for reading made him a knowledgeable and well-respected person with experts outside the world of jazz. With more than 30 photos, a comprehensive discography, bibliography, and index, this volume will fascinate jazz students, fans, and scholars.

This biography reveals the life story, musical style, personality, lyrics, and fashion of Katy Perry-the elements that have catapulted her to stardom and made her a 21st-century pop music icon. Katy Perry: A Biography examines who the young woman behind the hit songs, explicit lyrics, racy album covers, unconventional dress, and sometimes odd behavior really is. Through this nine-chapter narration of Perry's life, readers will gain insight into all stages of her development as a person and as a performer, from her early childhood, to her attempts to break out within the Christian music genre, to her pop music stardom and acting career. The book can be used as both a source of information for an essay or report, and as an easy-to-use guide to find answers to specific questions. It will also be of great interest to any reader who appreciates pop music and wants to know more about Katy Perry-where she came from, who she is today, and the fascinating journey and inspirational tale of her rise to becoming one of the hottest female pop stars of the 21st century. A timeline of events pinpoints the specific dates of successes and moments in Perry's life Photographs depict some of Perry's most memorable concerts or events An extensive bibliography will help readers find more information and quotes about this 21st-century pop music icon A comprehensive list of Perry's awards and award nominations collects information for researchers

This volume makes available Rodrigo's writings to English-speaking readers throughout the world. The generous selection reveals an outstanding critical mind, equally illuminating on the main developments in the history of classical music and its most important composers, from Bach and Mozart to Verdi and Puccini, as well as Rodrigo's contemporaries. Rodrigo's writings also cover many aspects of the culture and music of Spain and the country's major composers, as well as being an invaluable guide to an understanding and appreciation of Rodrigo's own works. The composer's style of writing is extremely varied: by turns incisive, eloquent, poetic, or delightfully humorous. Given the world-wide fame and popularity of his music, the availability in English of a large number of the composer's many articles and critical reviews will be of the greatest interest to musicians, scholars, music critics, and music-lovers alike.

Philip Glass and Robert Wilson's most celebrated collaboration, the landmark opera Einstein on the Beach, had its premiere at the Avignon Festival in 1976. During its initial European tour, Metropolitan Opera premiere, and revivals in 1984 and 1992, Einstein provoked opposed reactions from both audiences and critics. Today, Einstein is well on the way itself to becoming a canonized avant-garde work, and it is widely acknowledged as a profoundly significant moment in the history of opera or musical theater. Einstein created waves that for many years crashed against the shores of traditional thinking concerning the nature and creative potential of audiovisual expression. Reaching beyond opera, its influence was felt in audiovisual culture in general: in contemporary avant-garde music, performance art, avant-garde cinema, popular film, popular music, advertising, dance, theater, and many other expressive, commercial, and cultural spheres. Inspired by the 2012-2015 series of performances that re-contextualized this unique work as part of the present-day nexus of theoretical, political, and social concerns, the editors and contributors of this book take these new performances as a pretext for far-reaching interdisciplinary reflection and dialogue. Essays range from those that focus on the human scale and agencies involved in productions to the mechanical and post-human character of the opera's expressive substance. A further valuable dimension is the inclusion of material taken from several recent interviews with creative collaborators Philip Glass, Robert Wilson, and Lucinda Childs, each of these sections comprising knee plays, or short intermezzo sections resembling those found in the opera Einstein on the Beach itself. The book additionally features a foreword written by the influential musicologist and cultural theorist Susan McClary and an interview with film and theater luminary Peter Greenaway, as well as a short chapter of reminiscences written by the singer-songwriter Suzanne Vega.

The Original Portrayal of Mozart's Don Giovanni offers an original reading of Mozart's and Da Ponte's opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766-1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi's portrayal with a study of the opera's early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today's stage productions. Incorporating discussion of dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.

Nicknamed the "Godmother of Punk," Patti Smith rose to fame during the 1970s New York counterculture movement where she welcomed a new breed of rock and roll. Smith sanctioned the presence of a strong-willed woman in the mainstream rock community by breaking not only the fragile glass ceiling, but also the "rules" about women on the rock stage. Smith pushed right up to the front of the punk scene, stripping down sexual, religious, and emotional barriers to create a raw, viscerally personal message. In Patti Smith: America's Punk Rock Rhapsodist, musician and historian Eric Wendell delves into the volatile mix of religious upbringing and musical and literary influences that gave shape to Smith's lyrics, music, and artistic output. Wendell explores how Smith's androgynous stage presence pulled the various societal triggers, adding a new layer of meaning to popular music performance. Songwriter and singer, performance artist and poet, Smith created work that drew together biography, history, and music into a powerful collage of an artist who shaped a generation of musicians. For poets and performers, as well as fans of Patti Smith and punk rock history, Patti Smith: America's Punk Rock Rhapsodist is the perfect introduction to Smith's achievements and the politics and art of a generation that is still felt.