have an embassy. The idea for the play came from Pietri's nationalistic views. During the performance, he would sing "The Spanglish National Anthem" and hand out simulated "Puerto Rican passports" prepared in collaboration with Adál Maldonado. Other works Among his other works are: Invisible Poetry (1979), Traffic (1980), Plays (1982), Traffic Violations (1983), and The Masses are Asses (1988). His writings have been published and included in the following anthologies: Inventing a Word: An Anthology of Twentieth Century Puerto Rican Poetry (ed. Julio Marzan, 1980), Illusions of a Revolving Door (1984), The Outlaw Bible of American Poetry (ed. Alan Kaufman, S.A. Griffin, 1999), The Prentice Hall Anthology of Latino Literature (ed. Eduardo del Rio, 2002) and many others. In August 2015, City Lights released Pedro Pietri: Selected Poetry, which gathers the most enduring and treasured work from his books—Puerto Rican Obituary, Traffic Violations, and Out of Order—and contains a generous selection of his previously unpublished writings. Pietri not only wrote poetry but also recorded it. In 1979, Pietri came out with an LP entitled Loose Joints and later One Is a Crowd which were produced by Folkways Records., also recorded ! Aqui se Habla Español ! Pedro Peitri en casa Puerto Rico on discos Coqui LP 1203 It was during this time that Pietri was part of the Cultural Council Foundation CETA Artists Project in New York City, which ran from 1978-80. He worked with other poets and literary artists like Bob Holman, Nathan Whiting and N.H. Pritchard. Pietri was a free spirit whose performances were nontraditional. In his irreverence toward religion, he called himself Reverend, dressed in black and walked around with a large collapsible cross. In reaction to the romanticism of the community by groups like the Young Lords and others on the left, he wrote that "The Masses are Asses." In the first published collection of Nuyorican poetry (Nuyorican Poetry: An Anthology of Puerto Rican Words and Feelings edited by Miguel Algarín and Miguel Piñero in 1975), his contribution was a poem consisting entirely of punctuation marks. He would throw condoms at audiences during some of his performances. He was a nonconformist, constantly reminding the Movement of the importance of tolerance, intellectual freedom and not losing its humanity. His was a unique voice, both in substance and style, to which failed attempts by all to imitate his reading of his "Puerto Rican Obituary" out loud readily attest.