Elliott Smith was one of the most gifted songwriters of the '90s, adored by fans for his subtly melancholic words and melodies.The sadness had its sources in the life.There was trauma from an early age, years of drug abuse, and a chronic sense of disconnection that sometimes seemed self-engineered.Smith died violently in LA in 2003, under what some believe to be questionable circumstances, of stab wounds to the chest.By this time fame had found him, and record-buyers who shared the listening experience felt he spoke directly to them from beyond:astute, damaged, lovelorn, fighting, until he could fight no more. And yet, although his intimate lyrics carried the weight of truth, Smith remained unknowable. In Torment Saint, William Todd Schultz gives us the first proper biography of the rock star, a decade after his death, imbued with affection, authority, sensitivity, and long-awaited clarity. Torment Saint draws on Schultz's careful, deeply knowledgeable readings and insights, as well as on more than 150 hours of interviews with close friends from Texas to Los Angeles, lovers, bandmates, music peers, managers, label owners, and recording engineers and producers. This book unravels the remaining mysteries of Smith's life and his shocking, too early end.It will be, for Smith's legions of fans and readers still discovering his songbook, an indispensable examination of his life and legacy.

A compilation of photographs of musician Elliott Smith and transcriptions of interviews with people who knew him, accompanied by a compact disc of unreleased live recordings.

The death of singer-songwriter Elliott Smith has been an open case for the last eighteen years. The Oscar-nominated musician died of two stab wounds in the chest after a fight with his girlfriend Jennifer Chiba on October 21st, 2003. Even though his death was first reported by the media as an alleged suicide, a police investigation was reopened after the results of the autopsy were made public. Because of Elliott's history with drug addiction, depression, and suicide ideation, it was not difficult for many people, fans included, to believe he had killed himself. However, the circumstances of his death, the findings of the autopsy, as well as a series of inconsistencies and discrepancies have left open the possibility of homicide.The book is written from the perspective of Alyson, a real-life fan who undergoes her own investigation, motivated by her sense of justice and desire to determine the truth. If the exact circumstances of Elliott Smith's tragic death cannot be established beyond a reasonable doubt, after some persistent and in-depth research of the case and the insight of more than 40 people, the story that emerges is quite different from the one that has been too often portrayed in the media. Even though Elliott had well-documented problems, the events surrounding his death appear to be much murkier than previously thought, making it more difficult to believe his death was a clear-cut suicide.

Many albums could be cited to support the claim that great suffering yields great art. Elliott Smith's XO should not be one of them. Smith's 1998 major label debut defies the "tortured singer-songwriter" stereotype, and takes up this defiance as a central theme. At a time when Smith was being groomed for a particular (and particularly condescending) brand of stardom, he produced a record that eviscerated one of the central assumptions of singersongwriterdom: that pain is beautiful. XO insists that romanticizing personal tragedy can only leave you "deaf and dumb and done." And it backs up this claim with some of the most artful and intelligent music of its day. Matthew LeMay writes an original take on a widely beloved album, steering clear of the sensationalist suicide angles that have dogged most analysis of Elliott Smith's extraordinary work.

(Guitar Recorded Versions). A fixture on the Portland indie music scene, singer-songwriter Elliott Smith was introduced to the mainstream via his Oscar-nominated song "Miss Misery" from the Good Will Hunting soundtrack. This collection features that song and 17 others, from his first CD, through tracks released after his tragic and untimely death. Includes: Angeles * Clementine * Everything Means Nothing to Me * Pretty (Ugly Before) * Say Yes * Son of Sam * Waltz #2 (XO) * and more, plus a discography and an intro.

Audisee® eBooks with Audio combine professional narration and sentence highlighting for an engaging read aloud experience! In America, the amount of money people earn for doing the same job isn't always equal. The United States only recently made it illegal to pay men more than women for the same job, and the country's history of racism has created big wealth gaps between white and Black people that persist in the twenty-first century. Learn how income inequality originated, why it is a problem, and the ways people are fighting for an equal playing field. Read WokeTM Books are created in partnership with Cicely Lewis, the Read Woke librarian. Inspired by a belief that knowledge is power, Read Woke Books seek to amplify the voices of people of the global majority (people who are of African, Arab, Asian, and Latin American descent and identify as not white), provide information about groups that have been disenfranchised, share perspectives of people who have been underrepresented or oppressed, challenge social norms and disrupt the status quo, and encourage readers to take action in their community.

Elliott Smith wakes up in the hospital with a head injury...and an invisible companion. At first, he's convinced "John" is just a figment of a damaged brain, but when Elliott is fully recovered John is still around—and desperate to find out who he is. Reluctantly, Elliott agrees to help, and discovers Chicago PD has a John Doe on their hands with six bullets in him—who died in the ER at the same time Elliott was there. As Elliott digs deeper into the mystery of John, he stumbles on a body hidden behind a wall for 80 years, meets a sexy artist who could become more than just a one-night stand, and uncovers a deadly secret that has haunted a nun for two decades.

This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.