Patti Smith was an idiosyncratic punk icon from the word go. Her unconventional hybrid of rock and poetry set forth a no-holds-barred musical dimension of jazzy improvisations, jagged guitars and spiritual declarations. More Mick Jagger than Joan Baez, the New Jersey-raised Smith refused sexual objectification with a cool androgyny and followed her muse with uncompromising integrity, influencing not only her CBGB contemporaries but generations of musicians to come. Her debut album, 1975's 'Horses,' is one of rock's most heralded, with an opening line -- "Jesus died for somebody's sins but not mine" -- that's worthy of its own Rock Hall induction. Spinner talked to the woman of many crowns -- poet, activist, painter, photographer, misfit, musician and mother -- about adding yet another: Hall of Famer.

What were you doing when you got the call saying that you were being inducted into the Rock and Roll Hall of Fame?

I was home either working on a poem or feeding the cats. You know, doing what I do at home.

And what was your immediate reaction?

I have been nominated many times, so I was really happy. My only bit of sadness was that my parents, who really looked forward to this, have both passed away since my first nomination, so I'll have to accept in their spirit.

What are your thoughts on the rest of the inductees?

It's a great year because my good friend Michael Stipe and R.E.M. are being inducted. I always loved the Ronettes and I think it's a really diverse year. I'm sure they'll do a beautiful tribute to [late Atlantic Records founder] Ahmet Ertegun and it'll be a good night. I've never been pro-institution in terms of rock 'n' roll but I feel that it's still a great honor to be chosen.

And have you spoken with Michael?

Yes, we spoke right away. He was in London and we were all really happy. It was kind of funny -- through the years I always imagined that perhaps Michael would be there with me. And he is, in a whole other configuration. I know I'm gonna feel very proud and happy to see R.E.M. inducted.

Which songs do you plan to perform?

My mother asked me before she died, if I made it to sing a certain song for her. I'm sure that I will fit it in.

Which song would that be?

I can't say because if I'm not asked to do it, I might have to do it anyway. That's my big hope -- my plan -- to sing a song for my mom.

Can you imagine what you'll be experiencing emotionally and mentally during the induction?

When I think about this night, I think about all of the people that through my life have made this possible. It's emotional for me because so many of the people that I want there and who wanted to be there -- my husband, my brother, my father and mother -- aren't going to be. Even the years that I didn't perform, my late husband [former MC5 guitarist Fred "Sonic" Smith] taught me to sing better, taught me to play acoustic guitar and be more independent in writing songs. And I learned so much from him politically as well as musically. Rock 'n' roll is collaborative. You don't do anything by yourself.
I'll also be thinking of the whole history of rock. I'm 60 years old and I've seen it evolve throughout my whole life, starting with Little Richard to the Animals and Bob Dylan, and on and on. I've often said that rock 'n' roll got me through my adolescence. I was awkward, skinny and socially inept, and rock introduced me to that which was energetic and revolutionary and physical. If I'm going to participate in this night, I'm going to think of it in the highest way possible -- that it is emblematic of our culture, and all of the things that rock 'n' roll has offered to us and its possibilities.

What's it like for you to make music with your son and daughter, [guitarist] Jackson and [pianist] Jesse, especially given the passing of Fred?

Looking at both of them when they're playing, I see him. It's really great to have a part of him to work through our son and daughter. But I also look at them as individuals. I have both perspectives -- the pride of a mom and a lot of respect as musicians and people.

And they'll be joining you on your upcoming tour in support of your new album, 'Twelve.' Please share a bit about the project, which features all cover songs.

I always wanted to do a covers album, but I didn't really feel I had the range to do the kind of album I wanted to do. I didn't know enough about singing. But now it seemed like the right time. As the project evolved, a lot of the songs on the list I made in the beginning didn't make the final cut, and a lot of songs that I didn't plan on doing wound up being the ones I chose. They're all special to me for different reasons. Neil Young's 'Helpless' and Nirvana's 'Smells Like Teen Spirit' had emotional resonance for me. But Nirvana was the most emotional experience.

You're very brazen in your work. Is there anything that's sacred or untouchable that you will not put forth for the public's taking?

I try to give as much of myself in my work as possible. Politically, I don't censor anything. I will always say what I think. But I don't believe that an artist's personal life should be up for continuous scrutiny. Luckily, I'm not a big celebrity or a pop star, and people -- most of the time -- don't focus on what I do. I wouldn't want people bothering my son and daughter. I wouldn't want people following me around. The way the media spends so much time and space on people's personal life is not only outrageous, but it doesn't serve the real needs of the people. It might serve to entertain them but all of the things we should be worried about -- whether it's health issues or environmental issues -- get so little space. The indiscretions of the celebrity will get the first page, which is a real disgrace. Otherwise, I try to share as much as I can.

I know that art is genderless, but your role in terms of pioneering women in music and rock, specifically, cannot be undermined at all. Can you speak to that?

When I first did 'Horses' in '75, I never thought about things like that. I was thinking more about people who were disenfranchised, male or female. It was a lot harder back then for women to do things than it is now, and I'm certain that it's still more of a challenge, but I think that we've come a long way. I never think in terms of gender-specificity, but I'm certainly a woman and a mother. Somebody said to me that they were disappointed that I wasn't more involved in women's rights. I said, "Well, I'm a mother. I have a son and a daughter. Who do you think I should fight for?" I fight for both of them.
My counsel to people still is to be proud of who they are, whatever gender, race or sexual persuasion, but that one should not limit themselves to that. Why should anyone be defined by one thing? When people say, "Would you be in a show of four women painters?" and I say, "Well, they don't have a show of four men painters. They just have artists." Why should women have a limitation or a qualification on what they're doing?

Did you have any idea in 1975 that the opening line of 'Gloria' would become as famous as it has?

[Laughs] No. First of all, I wrote the poem for 'Gloria' in 1970. I was brought up a Jehovah's Witness and I had a strong religious education and a very good Bible education. I left organized religion as a teenager because I felt it was too confining. When I wrote 'Gloria,' it wasn't really anti-Christ -- who I really admire -- it was anti the idea that everything was set up for us and we had to fall into a certain behavior based on how things were organized for us. If I was going to do things wrong, I didn't want anyone having to die for my sins -- I was going to take responsibility. It was really about personal and mental liberation. A writer called it a declaration of existence. To this day, I think that's the best description of that song, although I probably would not write the same lyric now because I've gone through a long process of evolution.

How would you summarize your career if you were to give your own induction introduction?

I've never wanted a career and I don't believe I have one. I believe that I'm a worker and that I've always done the best I could. I've had no design in terms of career and if I did, one could readily say that I did a bad job. My whole life, I've been inspired by other people's work -- whether it was reading 'Peter Pan' or listening to Jimi Hendrix or John Coltrane or Beethoven. One of the things that makes life worth living is being inspired by others, so I would hope that, in giving me this honor, they're saying that I did good work and they have faith that I'll keep doing good work. And that's what I'll do.

--Jessica Robertson