Podcasts about be alone

Hello! In this week’s episode, I had the pleasure of sitting down with the inspiring Francesca Specter—author of Alonement: How to Be Alone and Absolutely Own It. And wow, what a beautiful and important conversation this turned out to be. If the idea of being alone feels scary or uncomfortable - or maybe even a bit boring - then this episode is 100% for you. We’re diving into why solitude isn’t something to escape… it’s something to embrace. Francesca shares so honestly her own journey as an extrovert learning to love her own company, and how solitude has become a joyful, nourishing part of her life - how it can become that for you too - and how it benefits you. We talk about: The difference between loneliness and alonement—and why it matters. How to carve out alone time (even with a full life) without guilt. Practical tips to enjoy your own company and use solitude as a tool for creativity and clarity. How journaling, rituals, and walking in nature can become sacred acts of self-connection. You’ll likely walk away with a new perspective on what it means to be alone—and how choosing solitude can actually bring you closer to yourself, your dreams, and your deepest clarity. So light a candle, grab a cuppa, or pop in your ear buds and go walking... and press play on this warm and soul-nourishing chat. Whether you're an introvert, extrovert, or somewhere in between, there’s something truly powerful here for you. Because you, my friend, are worth taking time for. As always, I’d LOVE to hear what resonates with you from this episode and what you plan to implement after listening in. So please share and let’s keep the conversation going in the Dream Life Podcast Facebook Group here. Have a wonderful weekend …and remember, it all starts with a dream

He hath risen! The ghouls spend Easter discussing the underseen Finnish film from 1952, The White Reindeer. From wiki: “The White Reindeer (Finnish: Valkoinen peura, Swedish: Den Vita Renen) is a 1952 Finnish folk horror film directed by Erik Blomberg in his feature film debut.[1] Blomberg wrote the screenplay with his wife Mirjami Kuosmanen, who also stars in the lead role. Based on pre-Christian Finnish mythology and Sami shamanism, the film is set in the Finnish Lapland and centers on a young woman, Pirita (Kuosmanen).”Also discussed: Bill & Ted, Arachnophobia, Rock n' Roll High School Forever, Arachnophobia, Everything is Terrible, The Shrouds (2025), Cat People, You Won't Be Alone, and more. NEXT WEEK: The Babadook (2014)  Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

This week Mr. Pold dreams about advertisements, D'Viddy digs into giraffe geneology, and Master Z plays Spanish Scrabble. Consumption: D'Viddy - Upgrade, A Haunting in Venice, Casino Royale, Eraserhead, The Sword and the Sorcerer Master Z - 6 Nations Rugby, You Won't Be Alone, Cursor's Fury Music Provided By: Greg Gibbs / Most Guitars Are Made of Trees Clorofila Azul / And For Ever More Talk Less Say More / Honest

This episode we dive back into the world of Director/Writer, Andrea Dorfman. Host Andrew Hunter Scholey and returning guest Melissa Jean Miller discuss Dorfman's 2014 film collaboration with musician/poet Tany Davis, "Heartbeat". They also discuss their first project together, the wildly popular short film/youtube video "How to Be Alone", and the themes it shares with "Heartbeat". Our hosts also discuss the difficult relationships artists can have with their art, what local film locations from the film Hunter could figure out and also discuss...... babies and parenting.... just a little.

Episode 44: Shapeshifters This episode was recorded on September 26, 2024 and posted on December 14, 2024. Content Warning: Light vulgarity.  Introduction Welcome to No Bodies Episode 44 Introductions to your Ghosts Hosts with the Most - Lonely of Lonely Horror Club and Projectile Varmint aka Suzie Introductions to our guests - Justin McConnell director of Lifechanger (2018) and Billy D of Halloween Babies Podcast Today's Topic: Shapeshifters in Horror Discussion on Shapeshifting in Horror Defining shapeshifting Shapeshifting in mythology, folklore and culture  Media Discussion Lifechanger (2018) Possessor (2020) You Won't Be Alone (2022) Best Representations of Shapeshifters in Horror Spoilers ahead! Best Annihilation (2018) - Suzie The Borrower (1991) - Justin Nightbreed (1990) - Billy D Cat People (1942) - Lonely Suzie's Deep Cuts & Surface Wounds This segment highlights lesser known films based on their IMDB ratings. If something has 5k or under reviews on IMDB, we'll call it a Deep Cut. If something has between 6-10k reviews on IMDB, we'll call it a Surface Wound. Assimilate (2019) What Lies Below (2020) Dual (2022) Closing Thoughts What are some standouts from the shapeshifter subgenre that we missed? Thank you to our guest! Follow Justin McConnell on Instagram @unstablegroundjustin and stream Lifechanger (2018) on Tubi.  Follow Billy D on Instagram @halloweenbabiespodcast and listen to Halloween Babies wherever you get your podcasts! Keep Up with Your Hosts Check out our instagram antics and drop a follow @nobodieshorrorpodcast.  Take part in our new audience engagement challenge - The Coroner's Report! Comment, share, or interact with any Coroner's Report post on our socials to be featured in an upcoming episode.  Projectile Varmint - keep up with Suzie's film musings on Instagram @projectile__varmint Lonely - read more from Lonely and keep up with her filmstagram chaos @lonelyhorrorclub on Instagram and www.lonelyhorrorclub.com. Original No Bodies Theme music by Jacob Pini. Need music? Find Jacob on Instagram at @jacob.pini for rates and tell him No Bodies sent you!  Leave us a message at (617) 431-4322‬ and we just might answer you on the show! Sources Abello, B. (2017, April 17). I was told not to speak about skinwalkers, this is what happens when you break the rules. Thought Catalog. https://thoughtcatalog.com/brianna-abello/2017/04/i-was-told-not-to-speak-about-skinwalkers-this-is- what-happens-when-you-break-the-rules/ Gryphon, L. (2016, April 13).  List of Shapeshifters from Around the World - *. *. https://mythicalrealm.com/mythical-creatures/shapeshifters-around-world/ shape-shifter. (2024). In Merriam-Webster Dictionary. https://www.merriam-webster.com/dictionary/shape-shifter  Skinwalker — Crafted lore. (n.d.). Crafted Lore. https://www.craftedlore.com/skinwalker  Skinwalkers, Wendigos, and the Witchery Way | Denver Public Library Special Collections and Archives. (n.d.). https://history.denverlibrary.org/news/skinwalkers-wendigos-and-witchery-way#:~:text=Western%20Indian%20tribes%20also%20believed,to%20hide%20in%20plain%20sight.

In this episode of the Power 102.8 LA podcast, host Alexis ‘ARockss' interviews Edrica Edwards, an emerging artist known for her heartfelt music that aims to bring healing and connection to listeners. Edrica shares her creative process, the inspiration behind her latest single 'I Don't Want to Be Alone for Christmas,' and the importance of live performances in connecting with her audience. She reflects on the lessons learned from her music journey, including the value of perseverance in the face of challenges and the role of failure as a stepping stone to success. Support this podcast at — https://redcircle.com/power-102-8-los-angeles/donations

In episode 1786, Jack and Miles are joined by comedian, Pallavi Gunalan, to discuss… Is Mar A Lago Face The New Master Race? This Pete Hegseth Article Is a F**kin Doooooozy, Jack in the Box Tests New Burrito Filled with Noodles and more! Is Mar A Lago Face The New Master Race? This Pete Hegseth Article Is a F**kin Doooooozy Jack in the Box Tests New Burrito Filled with Noodles LISTEN: I Just Can't Be Alone (with Billy Lemos) by Lexa GatesSee omnystudio.com/listener for privacy information.

Upgrade your reading experience with Serious Readers' High Definition Light—crafted with Daylight Wavelength Technology™ for clear, comfortable reading without eye strain. Use our code RECCOS at seriousreaders.com/bookreccos to get £100 off and free UK delivery!Books Mentioned in this Episode:Clara Reads Proust by Stéphane CarlierClean by Alia Trabucco ZeránWhat You Are Looking for is in the Library by Michiko AoyamaWhat I Know About You by Éric ChacourA Perfect Day to Be Alone by Nanae AoyamaHonourable mentions to: The Lonely Castle in the Mirror by Mizuki Tsujimura & Convenience Store Womanby Sayaka MurataBook Reccos Website, Shop & newsletter:Don't forget to check out our website and checkout the Book Reccos shop to purchase your very own Book Reccos Reading Journal! And whilst you're there sign up to our newsletter to receive a monthly email from us to fill you in on our favourite reccos of the month. Head to www.bookreccos.comGet in Touch:Instagram: @bookreccosEmail: hello@bookreccos.comWebsite: www.bookreccos.com Hosted on Acast. See acast.com/privacy for more information.

October is, of course, the month of Halloween, and Monsters Anonymous is certainly appropriate for the season.Dracula wants to be a better monster and feels guilty for his past killings. Determined to stop, he struggles with his addiction to human blood, despite being able to survive on animal blood. He joins Monsters Anonymous (MA), posing as an alcoholic, and meets other monsters with unique addictions: Gaywolf, obsessed with bulking up; Frankenstein, addicted to plastic surgery; and Ghost Girl, who can't stop stalking her ex-girlfriend. Can the group help Dracula resist his urges, or will he relapse into killing again?Bernadette Armstrong directs Kevin Carr, Monique Gonsalves, Gina Elaine, and Larry Coleman.Melissa Marie Watson is the playwright. Melissa won two creative writing scholarship contests and two essay contests at Eureka College, read poetry over the radio in Chicago, and was published in The Quill, The Pantagraph, and The Woodford County Journal. She was recently published in two anthology books: Words of the Wise: Stories of Awakening Journeys and I'm a F*cking Entrepreneur Volume II. Her monologue, Made to Be Alone, was performed by Nomad Theatre in their Ghostlight Project showcase, and her short play, The Lesser of Two Evils was a finalist in Nomad's The Polling Place contest.Support the showFounded by playwright and filmmaker Bernadette Armstrong, Open-Door Playhouse is a Theater Podcast- like the radio dramas of the 1940s and 1950s. The Playhouse launched on September 15, 2020. At the time, Open-Door Playhouse provided Playwrights, Actors and Directors a creative outlet during the shutdown. Since its inception. Open-Door Playhouse has presented Short and One-Act plays from Playwrights across the country and internationally. In 2021 Open-Door Playhouse received a Communicator Award for Content for the Play Custody and in 2023 the play What's Prison Like was nominated for a Webby Award in the Crime & Justice Category.Plays are produced by Bernadette Armstrong, Sound Engineer is David Peters, sound effects are provided by Audio Jungle, and music from Karaoke Version. All plays are recorded at The Oak House Studio in Altadena, CA. There's no paywall at the Open-Door Playhouse site, so you could listen to everything for free. Open-Door Playhouse is a 501c3 non-profit organization, and if you would like to support performances of works by new and emerging playwrights, your donation will be gratefully accepted. Your tax-deductible donations help keep our plays on the Podcast Stage. We strive to bring our listeners thoughtful and surprising one-act plays and ten-minute shorts that showcase insightful and new perspectives of the world we share with others. To listen or to donate (or both), go to https://opend...

You Were Not Meant to Be Alone by Fr. Michael Denk

For Rita Sodi, cooking isn't so much an art or a science, but rather an intuitive way for her to channel her Tuscan roots and provide a profound sense of home. Following a 15-year career in the world of fashion as a self-described “denim guru” for Calvin Klein Jeans, Sodi transitioned into the realm of restaurants in 2008, when she moved to New York City from Bagno a Ripoli, Italy, and opened the West Village establishment I Sodi. Soon after, Sodi serendipitously met her life and work partner, Jody Williams—the chef-owner of the French bistro Buvette—and the two went on to found the restaurant group Officina 1397. Now, in addition to I Sodi and Buvette, they also operate Via Carota, The Commerce Inn, and Bar Pisellino. Across all of Sodi's undertakings, her motive is clear: to create dishes she loves with great care and rigor, and, at least in the cases of I Sodi and Via Carota, to share an abiding passion for Tuscan cooking.On the episode, Sodi discusses learning to cook from her mother, her atypical journey from fashion to food, and some of the stringent rules she follows in the kitchen and in life.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Rita Sodi[25:50] Tuscany[4:50] West Village[5:58] I Sodi[6:47] Calvin Klein Jeans[8:31] Jody Williams[8:31] Via Carota[8:31] Officina 1397[8:31] Bar Pisellino[8:31] The Commerce Inn[8:31] Buvette[20:29] Pete Wells[23:22] “An Ode to I Sodi”[23:22] “The 100 Best Restaurants in New York City 2024”[23:22] “When I Want to Be Alone, I Eat Dinner at the Bar at I Sodi”[25:50] Bagno a Ripoli[29:35] “The Laws of Tuscan Eating at I Sodi in the West Village”[48:26] Emilia-Romagna[53:53] Jeff Gordinier

Let's just say you're a woman and you're about to divorce. We know, crazy, right? But stay with us on this. When you walk away from your marriage, what is it that you most want your former spouse to know? If you could wave a magic wand, not to somehow recover your relationship, but to cast a spell that would ensure that your former spouse truly understood your perspective, what would you say? This week on the Toaster, Michelle Dempsey-Multack joins us from the Moms Moving On Podcast and she is here to wave just such a wand. She has turned her own divorce into a thriving practice, writing, podcasting, and coaching others. And after we talk about the value of that shared perspective, we dive deep on the importance of finding your own community for support and guidance through your divorce process.Links & NotesMoms Moving OnGet Michelle's new book, Moms Moving On: Real Life Advice for Conquering Divorce, Co-Parenting with Conflict and Becoming Your Best SelfSubscribe to Michelle's Podcast (00:00) - Hot Toaster Summer! (01:17) - Welcome to How to Split a Toaster (01:44) - Our Guest: Michelle Dempsey-Multack from the Moms Moving On Podcast (02:39) - Perspective Shift (05:02) - How You Speak About Your Ex (08:45) - Viewing the New Person in Your Ex's Life (14:39) - Normalizing Therapy for Men (23:12) - The Value of Communities (26:50) - Working to Keep the Relationship With Your Ex Positive (29:51) - Specific Divorce Community vs. Friend or Family Groups (31:11) - Learning to Be Alone (35:54) - Where to Find Michelle

Host Flick Ford brings Primal Screen out of the studio and into the Performance Space for this edition of RRR's beloved film and screen culture program.She speaks with director, screenwriter, and cinematographer Warwick Thornton (Samson and Delilah, Sweet Country), filmmaker, producer and theatre director Nadia Tass (Malcolm, The Big Steal), and screenwriter & director Goran Stolevski (Housekeeping for Beginners, You Won't Be Alone, Of An Age). Flick and her panelists sort through the complex and messy questions of what defines Australian cinema – from where we've come from, to where we're heading – and how cinema can challenge myths of nationhood

Drusilla and Josh discuss a beautiful Macedonian film, You Won't Be Alone (2022.)  But also, Josh's play reading, which includes text from Messiah of Evil. They also get into the conversation around transphobia around Longlegs. Drusilla's first book design is out. It's the Book of Elsewhere by China Mielville and Keanu Reeves. And also, Drusilla attended the Midnight Mass screening of Elvira Mistress of the Dark at The Academy Museum. They also discuss Terrence Malick, Bel Ami, Palindromes, Cloud Atlas, Benoit Blanc, and more!From wiki: “You Won't Be Alone is a 2022 dark fantasy horror drama film written and directed by Goran Stolevski. It is an international co-production of Australia, the United Kingdom, and Serbia in the Macedonian language, and marks Stolevski's feature film directorial debut.” BJ Colangelo's piece on The Black Phone. https://www.slashfilm.com/912852/the-grabber-gayface-and-the-danger-of-conflating-the-two-in-the-black-phone/NEXT WEEK: You Won't Be Alone (2022)    Follow them across the internet: Bloodhaus: https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline: https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkel https://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

Josh and Drusilla talk about the Mexican arthouse classic by Alejandro Jodorowsky's Santa Sangre (1989). From wiki: “Santa Sangre (English: Holy Blood) is a 1989 avant-garde surrealistic psychological horror film directed by Alejandro Jodorowsky and written by Jodorowsky along with Claudio Argento and Roberto Leoni. It stars Axel Jodorowsky, Adán Jodorowsky, Teo Jodorowsky, Blanca Guerra, Thelma Tixou, and Guy Stockwell. An international co-production of Mexico and Italy, the film is set in Mexico, and tells the story of Fenix, a boy who grew up in a circus and his struggle with childhood trauma. It is signed on Empire magazine's 2008 list of the 500 Greatest Movies of All Time.They also discuss Michael Mann, Manhunter (1986), Longlegs (2024), Nichola Cage's neo shamanic acting, creepy pasta, Vampire's Kiss, Leaving Las Vegas, Angel, transphobia, Dressed to Kill, Jodorosky's Dune, Ti West, Guillermo Del Toro, Robert Eggers, and more!NEXT WEEK: You Won't Be Alone (2022)   Follow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

A new MP3 sermon from Church of Grace is now available on SermonAudio with the following details: Title: Not Good for Man to Be Alone Speaker: Chris DeLuna Broadcaster: Church of Grace Event: Wedding Date: 6/29/2024 Bible: Genesis 2:18 Length: 24 min.

A new MP3 sermon from Church of Grace is now available on SermonAudio with the following details: Title: Not Good for Man to Be Alone Speaker: Chris DeLuna Broadcaster: Church of Grace Event: Wedding Date: 6/29/2024 Bible: Genesis 2:18 Length: 24 min.

We are Still Into You - a podcast hosted by best friends Faye and Zach discussing every single Paramore song, in order, from All We Know Is Falling to This Is Why and beyond. In this episode we're talking about Be Alone, the sixteenth track on Paramore's Self-Titled album. You can find the ‘Here for Taylor (York)' t-shirt and other amazing Paramore designs from @elearor on Twitter, and on her website ekos.bigcartel.com. You can find us on Twitter and Instagram @StillIntoYouPod and you can email us at stillintoyoupod@gmail.com. You can listen to Faye's other podcast, Her Dark Materials, wherever you get your podcasts, and find it on social media @HDMPod. Zach's band Breakfast With Bears is on Twitter and Instagram @OfficialBreakfastWithBears and you can listen to them online wherever good music is found. Thanks to Finlay Hudson for our theme music, and to Carl English (@ce_visual on Instagram) for our podcast artwork.

After a brief hiatus...we're back with a brand new season of The Smith Society podcast! In our premiere episode, we chat with brilliant cinematographer Matthew Chuang. We discuss his early life and trajectory in this business, and we reflect on his stunning work in past films like Blue Bayou, You Won't Be Alone, and Of an Age. We cover all my favorite talking points: pre-production (IYKYK), comfort food, and of course, his latest project — helping create the epic visual world of Chief of War, a new Apple series (coming soon).More on Matthew Chuangwww.matthewchuang.cominstagram.com/mattscopeHost: Duane Hansen Fernandezinstagram.com/duane.h.fernandezThe Smith Society theme song by: Steady CadenceSteady Cadence is a brilliant father daughter duo out of North Carolina. There is an episode later this season about the theme song, their unique sound which blends together analog and digital, their inspiration, creative approach and how Cadence, who is currently in high school, has so much soul.Edited by: Marshall BakerThe Smith Society logo: Designer, Chris ScottFollow your dreams, no matter where they take you.See Privacy Policy at art19.com/privacy and California Privacy Notice at art19.com/privacy#do-not-sell-my-info

Amplifying your life starts with being willing to grow and work on yourself. It takes courage to peel back the onion and truly get to know who you really are. You may not like what you find. Jordan Winke not only had the courage to look in the mirror, she took the first steps towards becoming the person she aspires to be. It's never too early to make an impact and today's guest has decided she's going to make an impact right now. Where she is. In order to live an extraordinary life and be unapologetically you, start with learning who “you” are. Takeaways - Recognize the need for change and take responsibility for your own growth. - Change negative self-talk and treat yourself with kindness and compassion. - Use journaling as a tool for self-reflection and personal growth. - You are your own worst critic - People love you because you are you - Your sole purpose on this planet is NOT to make and keep people happy - Learn to be alone without being lonely - Just because it's different, doesn't mean it can't be equally good. Fave Quotes - The sun's gonna rise tomorrow - Zach Bryan - For what it's worth... - F. Scott Fitzgerald Fave Books - Dopamine Nation by Dr. Anna Leake - Attached by Amir Levine, M.D., Rachel Heller, M.A. - The Midnight Library by Matt Haig IG: @jordanwinke  Chapters 00:00 Introduction and Background 03:03 The Journey of Self-Discovery 08:52 Being Alone and Learning to Love Yourself 15:57 Journaling as a Tool for Self-Reflection 26:21 Discovering Self-Worth and Authenticity 29:02 Learning to Be Alone and Content 31:18 Letting Go of the Past and Embracing Change 33:38 The Power of Symbolic Moves 37:40 Coping with Anxiety through Distraction 40:02 Running for Fun and Personal Growth 44:11 Book Recommendations for Personal Development 46:06 Quotes that Inspire and Motivate 47:25 Developing Gritty Optimism 49:22 Asking the Right Questions to Amplify Your Life https://linktr.ee/amplifyit IG: @amplify.pod FB: @amplifyitnow

On the 360th episode of Piecing It Together, Josie DeMarco joins me to talk about Poor Things! Yorgos Lanthimos and Emma Stone created one of 2023's most unique films and one of my favorites of the last few years. Now that the film is on Hulu we're finally piecing it together. Puzzle pieces include Frankenhooker, The Wizard of Oz, You Won't Be Alone and The Island of Dr. Moreau.As always, SPOILER ALERT for Poor Things and the movies we discuss!Written by Tony McNamaraDirected by Yorgos LanthimosStarring Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy YoussefSearchlight Pictureshttps://www.searchlightpictures.com/poor-things/Josie DeMarco is a film critic and poet.Check out her YouTube Channel at https://www.youtube.com/@josephinedemarco8749And follow Josie on Twitter @josiepoetessMy sixth album, MORE CONTENT is available NOW on iTunes, Bandcamp and all other digital music stores! Make sure to check it out!My latest music is the 24 for 2024 series in which I'm releasing a new single on the 1st and 3rd Fridays of every month in 2024. 24 new songs total. Follow along on the Spotify Playlist at https://open.spotify.com/playlist/4PDKoUQ1CoFpiogLu2Sz4D?si=3cb1df0dd0384968My latest music video “Burn" which you can watch at https://www.youtube.com/watch?v=UxKAWFm0gAoThe song at the end of the episode is "The Night Calls" from my album David Rosen.Make sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check out https://www.piecingpod.com for more about our show!And if you want to SUPPORT THE SHOW, you can now sign up for our Patreon at https://www.patreon.com/bydavidrosenYou can also support the show by checking out our Vouch store where we're selling a bunch of great products at https://vouch.store/piecingittogetherShare the episode, comment and give us feedback! And of course, SUBSCRIBE!And of course, don't forget to leave us a 5 star review on Goodpods, Apple Podcasts, Spotify, or Podchaser!And most important of all… Keep going to the theater to see new movies!Mentioned in this episode:Godzilla X KongOn Thursday, March 28th at 6pm at Maya Cinemas in North Las Vegas we'll be doing a LIVE show on Godzilla X Kong: The

Debuting to rave reviews, filmmaker Goran Stolevski's HOUSEKEEPING FOR BEGINNERS explores the universal truths of family, encompassing both the bonds we inherit and those we create. Stolevski's multi-layered focuses on the exploration of human behavior and the universal truths of family life. Both the ones we are born into and the ones we find for ourselves. Dita (Anamaria Marinca) never wanted to be a mother, but circumstances force her to raise her girlfriend's two daughters, tiny troublemaker Mia (Dzada Selim) and rebellious teen Vanesa (Mia Mustafi). Toni (Vladimir Tintor) never wanted to be a father. A battle of wills ensues as they continue to butt heads and become an unlikely family that must fight to stay together. Director / Writer / Editor Goran Stolevski (You Won't Be Alone, Of Any Age) joins us to talk about the challenges that come with a mostly non-professional cast of actors, cultivating the kinetic talent that we see in Samson Selim (Ali), how he wove together multiple, overlapping storylines into the joy that this unconventional family eventually finds in each other. For more go to: focusfeatures.com/housekeeping-for-beginners 96th Academy Award® Best International Feature Official Selection Northern Macedonia.

Jon Bell's unsettling 2021 short film, The Moogai, receives the feature film treatment with his 2024 horror of the same name. Making its world premiere at the Sundance Film Festival, The Moogai follows in the steps of other Australian horror films (Talk to Me, Relic, You Won't Be Alone) to have left their mark at the fest.It follows the story of Indigenous couple Sarah (Shari Sebbens) and Fergus (Meyne Wyatt) as they welcome their new child into the world. However, Sarah's birth is a traumatic one, with her dying on the table, leading her to be revived in a horrifying manner. Back at home and still rattled from her birthing experience, Sarah endures another torturous event in the guise of a malevolent spirit that wants to take her baby: the moogai.Jon Bell explores the traumatic history of the Stolen Generation in The Moogai, layering in Aboriginal myths and legends, alongside the complexity that comes with Aboriginal kids being raised by white parents, as we see with the character of Sarah. Her culture has been pushed out of her, replaced with a level of sceptisism and distrust towards her Aboriginal heritage. When her birth mother Ruth (a powerful and riveting performance from Tessa Rose) tries to help ward off the spirit with ochre and snake skins, Sarah outwardly rejects her, allowing the spirit to further take hold of her life.The Moogai is frequently tense and unnerving, which is thanks in part to the work of cinematographer Sean Ryan. Sean worked with Jon on the short film, and in doing so, the two have crafted a visual style that amplifies the haunting aspects of the Australian landscape. In the following interview with Sean, recorded while he attends the 2024 Sundance Film Festival, Sean talks about creating that tension on screen, about how he chose to present the Australian landscape, and while skirting spoilers, talking about how he shot the fiery climax of the film which sees characters surrounded by a circle of flames as smoke encompasses them in the darkness of the night. It is a memorable finale.While The Moogai does not have a release date as of yet, it will not doubt reach Australian audiences sometime during 2024.Read the interview with Jon Bell here.We will be bringing you more coverage from the Sundance Film Festival over the end of January. All of the work at The Curb is independently produced and relies on the support of our brilliant community over at Patreon. To help keep The Curb independent, visit Patreon.com/TheCurbAU, and make sure to follow us on Facebook and Instagram. Hosted on Acast. See acast.com/privacy for more information.

Jon Bell's unsettling 2021 short film, The Moogai, receives the feature film treatment with his 2024 horror of the same name. Making its world premiere at the Sundance Film Festival, The Moogai follows in the steps of other Australian horror films (Talk to Me, Relic, You Won't Be Alone) to have left their mark at the fest.It follows the story of Indigenous couple Sarah (Shari Sebbens) and Fergus (Meyne Wyatt) as they welcome their new child into the world. However, Sarah's birth is a traumatic one, with her dying on the table, leading her to be revived in a horrifying manner. Back at home and still rattled from her birthing experience, Sarah endures another torturous event in the guise of a malevolent spirit that wants to take her baby: the moogai.Jon Bell explores the traumatic history of the Stolen Generation in The Moogai, layering in Aboriginal myths and legends, alongside the complexity that comes with Aboriginal kids being raised by white parents, as we see with the character of Sarah. Her culture has been pushed out of her, replaced with a level of sceptisism and distrust towards her Aboriginal heritage. When her birth mother Ruth (a powerful and riveting performance from Tessa Rose) tries to help ward off the spirit with ochre and snake skins, Sarah outwardly rejects her, allowing the spirit to further take hold of her life.The Moogai is frequently tense and unnerving, which is thanks in part to the work of cinematographer Sean Ryan. Sean worked with Jon on the short film, and in doing so, the two have crafted a visual style that amplifies the haunting aspects of the Australian landscape. In the following interview with Sean, recorded while he attends the 2024 Sundance Film Festival, Sean talks about creating that tension on screen, about how he chose to present the Australian landscape, and while skirting spoilers, talking about how he shot the fiery climax of the film which sees characters surrounded by a circle of flames as smoke encompasses them in the darkness of the night. It is a memorable finale.While The Moogai does not have a release date as of yet, it will not doubt reach Australian audiences sometime during 2024.Read the interview with Jon Bell here.We will be bringing you more coverage from the Sundance Film Festival over the end of January. All of the work at The Curb is independently produced and relies on the support of our brilliant community over at Patreon. To help keep The Curb independent, visit Patreon.com/TheCurbAU, and make sure to follow us on Facebook and Instagram. Hosted on Acast. See acast.com/privacy for more information.

Man Was Not Meant to Be Alone

ON-AIR! Welcome to #PRR592 by Nicky Romero including many new tracks by Third Party, AN21, eSQUIRE, Albert Harvey and many more! “Be Alone” by Almero is the #ProtocolSpotlight of this week! Tracklist: 1. Albert Harvey - If I Ever Fall In Love 2. My Friend feat. Darla Jade - Flash (Dosem Remix) 3. Markis - Wake Me 4. Greg, DJ Jeroenski & Roog - Your Mind Is Twisted (Siwell Remix) 5. Protocol Spotlight: Almero - Be Alone 6. Armand Van Helden - I Want Your Soul (Seth Hills & Ape Rave Club Bootleg) 7. Stereoclip - Sunset Drive (Calussa Remix) 8. Chasing Abbey - Talk To Me (eSQUIRE Remix) 9. AN21, Ali Bakgor - Into Dust 10. Third Party - Keep On Loving You (Club Mix) 11. Armin van Buuren & Goodboys - Forever (Stay Like This) 12. Fatboy Slim ft. Beardyman, Riva Starr - Eat Sleep Rave Repeat (Bruni Martini Remix) 13. Dannic & Roy Orion - The Ultimate 14. Pretty Pink - Clouds of Dust 15. Pandapush - Break My Heart

SummaryIn this episode, Jessica Pan discusses her book 'Sorry I'm Late, I Didn't Want to Come' and her journey of embracing extroversion. As we discuss on the show, Jessica is almost the opposite to me – she's an introvert who learnt to be more extraverted, whereas I started exploring Alonement as a means of dealing with my fear, as an extrovert, of being alone. She tells me about her journey to embrace solo travel, socialising with strangers and making new friends, all with the help of her 'extrovert mentors'. What this following episode touches on is the importance of balance and choice around how we spend our alone time, plus how learning to integrate more connection in your life can help you fall back in love with your solitude. We also touch on the loneliness of big cities, particularly London, and how Jessica has managed to curate her own tiny village within the UK capital. Jessica also talks about starting her Substack newsletter, It'll Be Fun, They Said, based on part-time job working in a local independent bookshop. Finally, she shares her favourite kinds of alone time, which involves reading by the ocean and journaling in a cafe.TakeawaysEmbracing alone time can be a luxurious and fulfilling experience when it is a choice.Working in a bookshop can be enchanting and provide opportunities for meaningful connections with customers.Journaling is a valuable tool for self-reflection and understanding one's thoughts and feelings.Solo travel can be challenging but can also provide opportunities for personal growth and self-discovery.Having extrovert mentors can provide guidance and support in navigating social situations.Chapters00:00Introduction and Background02:21Different Journeys, Same Goal03:42The Fluidity of Introversion and Extroversion04:10The Pleasure of Working in a Bookshop05:31Starting the Substack Newsletter06:30Choosing Pleasure and Storytelling08:25The Enchantment of Working in a Bookshop09:50The Joy of Working in a Bookshop10:46The Aspirational Lifestyle of Working in a Bookshop11:02Balancing Work and Alone Time12:57The Privilege and Prison of Being Alone13:57Choosing to Be Alone14:25The Nuance of Enjoying Alone Time15:24The Universal Loneliness Problem16:48The Counterintuitive Decision to Be an Extrovert17:18The Loneliness of Metropolitan Life19:10The Surprise Solo Travel Experience23:12The Challenges of Solo Travel25:08The Benefit of Extrovert Mentors32:50Favorite Extrovert Adventures36:36Gaining Compassion for Introverted Parts40:05Tips for Spending Time Alone45:27Appreciating Introverted Parts of Yourself46:26Creating a Village in the City49:21Curating a Community51:17Creating Connections52:15Favourite Alone TimeThank you to our season sponsor Sensate, a palm-sized infrasonic stress and anti-anxiety device. Visit getsensate.com/alonement for 10% off your first device.You can follow Jessica Pan's Substack at jesspan.substack.com, and my own at francescaspecter.substack.com With a one-off payment of £5, you can listen to the Alonement podcast ad-free. https://plus.acast.com/s/alonement. Hosted on Acast. See acast.com/privacy for more information.

The gang shifts shapes this week as they learn about what it takes to be a human (and a witch) in the Macedonian Old Country. This week we review You Won't Be Alone (2022). Have you ever wondered what The Witch was look like if it was directed by Terrance Malick in stead of Robert Eggers? You will get a real close approximation here, and hopefully come away seeing something great that flew well under most people's radar. Visit the Twitch page (below) for the VOD with full chat, or the full Youtube video herehttps://youtu.be/7-vYde82o-Ehttp://www.MCFCpodcast.comhttps://www.twitch.tv/MCFCpodcasthttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  forcefivepodcast.comBrendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsRobert Stewart SWOProductions.comJason linktr.ee/scenethatreviewsAndrew Martin https://andrewwatchesmovies.libsyn.com/Dallas Terry Jack Fitzpatrick https://www.youtube.com/c/LetsCrashThisParade Mackenzie MinerJoseph Navarro     Pete Abeyta  and Tyler Noe

Our main feature is Suitable Flesh. We're also reviewing Satanic Hispanics, Bad CGI Gator, Two Face: The Grey, Bright Wood, You Won't Be Alone, Jigsaw, and Dreams in the Witch House.

The brilliant Kevin Pollak forgives Jay for being late, talks about poker, growing up in San Francisco, becoming Don Rickles' buddy, the loss of Matthew Perry, inventing podcasts and only does one Shatner impression on this week's “Don't Be Alone with Jay Kogen.”Bio:Kevin Pollak is an world class actor, respected comedian, delightful impressionist and one of the original podcast hosts. He's appeared in over 80 films; his roles include Sam Weinberg in Rob Reiner's legal film A Few Good Men, Jacob Goldman in Grumpy Old Men and its sequel Grumpier Old Men; Todd Hockney in The Usual Suspects, Phillip Green in Martin Scorsese's Casino, and Bobby Chicago in End of Days. From 2016 to 2022, he played a recurring role in Better Things. From 2017 to 2023, Pollak was a regular cast member on The Marvelous Mrs. Maisel on Amazon. And he's a gambler who knows when to hold'em, when to fold'em and when to sulk in the kitchen. From Straw Hut Media

This episode kicks ass. Today we discuss the latest Fort Worth Film Club screening, 'You Won't Be Alone.' along with Goran Stolevski's follow-up film, 'Of an Age.' We also take a look at 'Passages' the new Ira Sachs' film starring Franz Rogowski, Ben Wishaw, and Adele Exarchopolous. Among other things, Jason expresses his affinity for novelty rap made for movies and performed by Oscar winners. This episode is worth every penny. Next time we're digging into 'Killers of the Flower Moon,' 'Anatomy of a Fall,' and 'Dry Ground Burning.'     Keep in touch and read more at whydoesthewilhelmscream.com on instagram @whydoesthewilhelmpod and twitter @whywilhelm Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_    

On this episode of How to Split a Toaster, hosts Seth Nelson and Pete Wright speak with licensed marriage and family therapist Linda Hershman. They discuss the rising trend of "gray divorce" among older couples, the practice of discernment counseling, and how divorce later in life impacts adult children.Key Takeaways on Gray DivorceGray divorce rates have risen dramatically, from 10% of couples over 50 getting divorced in 1990 to 25% in 2020. The rate increases for second and third marriages.Four cultural changes are contributing to the rise in gray divorce: women gaining more financial power and independence, increased life expectancy, no-fault divorce laws, and evolving cultural norms about marriage.Unique concerns in gray divorce include caregiving as you age, less time to rebuild assets, and women worrying whether they'll find new partners.Discernment CounselingDiscernment counseling helps mixed agenda couples (one leaning in, one leaning out) decide whether to stay married or divorce. There are 3 paths offered in discernment counseling: stay the course and do nothing for now, move towards separation and divorce, or enter intensive marriage counseling where divorce is off the table. Discernment counseling is not regular marriage counseling - the goal is not to improve the marriage but rather to help the couple decide what to do next. It aims to create momentum to save the marriage for those who are unsure if they want to stay married.Listener Question on Custody and Visitation RestrictionsJudges can and do restrict custody and visitation if there are demonstrated safety concerns and evidence the children are being negatively impacted, like DUIs with a child in the car. However, schedule disruptions or complications alone don't usually qualify as emergencies warranting restrictions in the eyes of the court. The bar is high for judicial intervention limiting parental rights. The advice is to check your local laws and not assume your situation will automatically be seen as an emergency. Present concrete evidence of danger or harm if you want the court to intervene with custody and visitation restrictions.Linda Hershman's BookLinda Hershman is the author of Gray Divorce: Everything You Need to Know About Later Life Breakups. Her book covers various topics related to gray divorce, including the trends, impacts on adult children, LGBT and mixed orientation divorce, and more.Links & NotesLinda's website, on Instagram, and on LinkedInGray Divorce on Twitter and on FacebookGray Divorce: Everything You Need to Know About Later-Life Breakups by Linda HershmanSchedule a consult with SethGot a question you want to ask on the show? Click here! (00:00) - Welcome to How to Split a Toaster (00:26) - Meet Linda Hershman (01:07) - Gray Divorce Trends (06:39) - Discernment Counseling (12:31) - Discernment Counseling and Gray Divorce (18:35) - Older Women After Divorce (20:11) - Ritual Connection (21:03) - Learning to Be Alone (27:12) - More With Linda (32:18) - Listener Question: Judges and Safety Concerns (39:32) - Wrap Up Establishing trust with Co-Parents can be difficult when alcohol abuse is involved. Use Soberlink as an opportunity to improve co-parenting arrangements. Visit their site to learn more and get a promo code for $50 off.

Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "Spinning Wheel" by Blood, Sweat & Tears. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life.  Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women.  There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records.  Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now  call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz.  To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made.  And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time.  Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one.  He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators

Family: It's Not Good to Be Alone by Door of Hope PDX

Join Jay Kogen, former stand-up actor and award-winning comedy writer, as he shares his great stories from his decades in show business on his podcast, "Don't Be Alone with Jay Kogen." With a mission to fight disconnection in modern life, Jay invites funny, smart, and interesting guests to tackle life issues he's dealing with. From stand-ups to actors, writers to artists, Jay's guests are always entertaining. Tune in to Apple, Spotify, YouTube, or anywhere you get your podcasts to listen to "Don't Be Alone with Jay Kogen" and be prepared for some awkward but nice conversations.From Straw Hut Media

On this episode-variant of The Night Shift (Bag of Horror), Kyle and Abby review PROJECT WOLF HUNTING (2022), BROOKLYN 45 (2023), YOU WON'T BE ALONE (2022), and BONES AND ALL (2023). Are any of them any good? Well, give this review a listen and find out...if you DAAAaaaare!Already seen them? Let us know your thoughts!REVIEW TIMECODES:Project Wolf Hunting —  7:30Brooklyn 45 —  17:50You Won't Be Alone —  27:50Bones and All —  36:45OMINOUS MEDIA LINKS:WebsiteNewsletterHumming Fools - PodcastCrit Nasty - PodcastKYLE LINKS:InstagramWebsiteEvil Cast ComicABBY LINKS:InstagramMUSIC:Intro - Cory NelsonOutro - Karl Casey @ White Bat Audio

You Are Not Alone!  Join Us This October For A New Beginning!  You Can Just Take A Break And You Won't Be Alone. Millions Of People Around The World Are Sober Curious So You Won't Be The Only One Doing It.  But Take Advantage Of Learning And Growing With Us!  Sign Up Now And Receive $100 Off And Be Entered In A Drawing For A Great Giveaway!Joint the October Alcohol Free Spirit ExperimentGet Our 5 o'clock somewhere: Alcohol Free EditionGet $5 off your first Go Brewing order!Our Ice Plunge Vlog VideoWatch the podcast on YouTube here: Alcohol Free Marriage Podcast VideoOur Website: AFMPodcast.comSchedule your free discovery coaching call with Amy

The Willingness To Walk Alone

I Want to Be Alone. Front Row Classics is taking a look at the Best Picture winner of 1932, Grand Hotel. Emmett Stanton, once again, joins Brandon to discuss what may just be the very first all-star movie. MGM pulled out all the stops for this glamorous melodrama featuring the likes of Greta Garbo, Lionel … Continue reading Ep. 169-Grand Hotel →

This is a special surprise July 4th episode of The Chauncey DeVega Show. On this special episode, Chauncey takes a journey around his neighborhood and shares some stories about the interesting, good, bad, and other fascinating people he encountered and the lessons he learned about inner beauty and dignity. He also shares his thoughts about the recent AEW Forbidden Door pay-per-view event, watching the reality TV show 90 Day Fiancé: Before The 90 Days on TLC with his mother and the mysterious and upsetting saga of Gino and Jasmine, and what it was like battling smoke from forest fires and unending noise from Nascar racing here in Chicago. Chauncey DeVega also reads the poem How to Be Alone by Pádraig Ó Tuama. On this special July 4th episode of the podcast, Chauncey reaches back into the archives and features his 2018 conversation with historian David Blight about the American titan and prophet Frederick Douglass. Professor Blight explains how the wisdom and example of Frederick Douglass's life can help save American democracy in the Age of Trump, separating the myth and legend of Frederick Douglass from the real man, and how studying the Black Freedom Struggle and the color line can help us to better understand how the United States of today came to be. WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com Patreon: https://www.patreon.com/thechaunceydevegashow

Go to http://hellofresh.com/ending16 and use code ending16 for 16 free meals plus free shipping. In You Won't Be Alone, in an isolated mountain village in 19th century Macedonia, a young girl is kidnapped and then transformed into a witch by an ancient spirit. We're breaking down the story, the important themes at play, just what the wolf-eateress is all about, and explaining the ending. Subscribe! ►► http://bit.ly/2jrstgM Support FoundFlix on Patreon! ►► http://www.patreon.com/foundflix FACEBOOK ►► www.facebook.com/foundflix TWITTER ►► www.twitter.com/foundflix INSTAGRAM ►► www.instagram.com/foundflix FAN MAIL: FoundFlix 6009 W Parker Rd Suite 149-174 Plano TX 75093

This week, we look back at 2022 (now that we have some space) to discuss our favorite horror films of the year. We finished last week's Barbarian podcast and realized we had left a lot of great 2022 titles on the cutting room floor. Rather than wait for each to get their own episode, we instead counted down our Top 10 horror films of the year, as well as some of our favorite performances.  Quick note, we are sorry Alan/AJ's audio was not of the highest quality. The recording failed, and we had to use our backup. Nice reminder, always backup record!  Check out the full list of movies discussed below, as well as timestamps.  0 - 04 - Intro to the Episode 4:00 - 7:00 - Nope - Alan Pick 7:00 - 12:20 - Glourious - Ryan Pick 12:20 - 15:25 - Bones and All - Alan Pick 15:25 - 17:00 - He's Watching - Ryan Pick 17:00 - 18:30 - Barbarian - Alan Pick 18:30 - 19:30 - Hypochondriac - Ryan Pick 19:30 - 21:20 - Crimes of the Future - Alan Pick 21:20 - 22:15 - Fresh - Ryan Pick 22:15 - 24:40 - Nanny - Alan French 24:40 - 26:25 - A Wounded Fawn - Ryan Pick Horror Performances  26:30 - 28:00 - Mia Goth - X and Pearl 28:00 - 29:25 - Rebecca Hall - Resurrection 29:25 - 31:15 - Ethan Hawke - Black Phone 31:15 - 32:30 - Joseph Winter - Deadstream 32:30 - 33:30 - Justin Long - Barbarian 33:30 - 35:00 - Gwendoline Christie - Flux Gourmet 35:00 - 36:00 - Rohan Campbell - Halloween Ends (Hate the role, not his fault) 36:00 - 36:30 - Sebastian Stan - Fresh 36:30 - 37:10 - Rachel Sennott - Bodies Bodies Bodies 37:10 - 39:00 - Maika Monroe - Watcher 39:00 - 41:00 - Which of these houses would we want to see as a Haunted House? X/Pearl, Smile, & Barbarian as a Haunt discussion.  41:00 - 44:00 -- Most Surprising Movies of the Year - Terrifier 2, Soft & Quiet, Deadstream, The Yule Log Movie 44:00 - End Honorable Mentions: Master, Speak No Evil, Piggy, Sinphony, You Won't Be Alone, The Leech, Mad God, In Search of Darkness Part III, The Found Footage Phenomenon  

Embark on an enlightening journey with this episode as we uncover the profound significance of solitude in spiritual growth and the indispensable role of deep work in healing.

The creatures explore the quiet countryside of macedonia and explore the world from different points of view through 2022's You Won't Be Alone. They discuss shoegaze, allegories and plans for a post-season special.

Follow the show: https://www.monstercat.com/COTW Tracklist 00:45 Snavs - Change Us (ft. Jack Dawson) 03:08 Feint - Fading Wind 05:20 Delta Heavy - I Need You 06:27 Koven - Shut My Mouth (REAPER Remix) 08:01 Koven - Good Enough 09:51 Botnek & I See MONSTAS - Deeper Love 12:03 MUZZ, Koven, & Feint - Worth The Lie 14:15 MUZZ - Feeling Stronger (ft. Charlotte Colley) [High Maintenance Remix] 16:05 ARUNA & Rameses B - Ready To Go (ft. KINGDØMS) 18:20 PROFF pres. Soultorque & Fon.Leman - Solar Wind 20:35 Ephixa & Going Quantum - Let's Roll 22:26 DNMO - Together 23:54 WRLD - Drift Away 25:27 Feint - We Won't Be Alone (ft. Laura Brehm) 27:50 Rameses B - Mountains (ft. Veela) 30:00 Candyland - Nirvana (Tisoki Remix) 31:52 hayve & Skyelle - Change 33:19 Teddy Killerz - INEEDU 35:31 Godlands - Charmer 36:24 Kumarion - Pure Action 37:51 Pegboard Nerds & More Plastic - The Ride 39:09 Rogue - Rattlesnake (Pegboard Nerds Remix) 40:16 KUURO - Crash & Burn 41:34 REAPER - BARRICADE 42:29 Priority One & TwoThirds - Hunted (ft. Jonny Rose) 44:52 Pixel Terror & Protostar - Andromeda 45:58 hayve - Flow 47:49 Going Quantum & hayve - Double Tap 48:55 Koven & ShockOne - Collecting Thoughts 50:56 Feint & Josh Rubin - Let Me Go 52:13 hayve & imallryt - Drift Away 53:53 Stonebank - Ripped To Pieces VIP (ft. EMEL) 56:14 KUURO - Afraid of the Dark (ft. Sophiya) [hayve remix] 58:06 Mazare & Monika Santucci - That's On You Thank you for listening to Monstercat: Call of the Wild! Learn more about your ad choices. Visit megaphone.fm/adchoices

Vashti was discovered in the mid-60s by the Rolling Stones manager, recorded a seminal acoustic album in 1970, then quit music until her work was rediscovered in 2000, recording two albums and releasing an autobiography since then. We discuss "I Want to Be Alone" (a 1965 single), "Rose Hip November" from Just Another Diamond Day (1970), "Wayward from Lookaftering (2005), and the title track from Heartleap (2014). Intro: "Train Song" (1966 single); the singles were released on Some Things Just Stick in Your Mind (2007). More at anotherday.co.uk. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Sponsor: Listen to The Psychology Podcast with Scott Barry Kaufman.

Vashti was discovered in the mid-60s by the Rolling Stones manager, recorded a seminal acoustic album in 1970, then quit music until her work was rediscovered in 2000, recording two albums and releasing an autobiography since then. We discuss "I Want to Be Alone" (a 1965 single), "Rose Hip November" from Just Another Diamond Day (1970), "Wayward from Lookaftering (2005), and the title track from Heartleap (2014). Intro: "Train Song" (1966 single); the singles were released on Some Things Just Stick in Your Mind (2007). More at anotherday.co.uk. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Sponsor: Listen to The Psychology Podcast with Scott Barry Kaufman.

Today on Too Opinionated we chat with singer/songwriter Scotty Berg! To say young pop/country star Scotty Berg has had a record year would be an understatement. After years of building popularity through his TikTok and Instagram videos and performances, he signed with his first record label, Predominant Studios, in 2022.  Now, his first release since signing with the label has landed his single, Dreams, at #35 on Top AC Radio Charts.  The rising singer/songwriter has been performing since he was 10 years old and has progressed from busking for passing audiences to performing at SXSW, on national TV for the 90th Hollywood Christmas Parade and gracing the cover of POPSTAR! Magazine (hitting stands in March 2023). His catalogue of previous releases includes the singles You Don't Have to Be Alone, an uplifting anti-bullying anthem and No Time to Waste, a song about living life with passion. Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

On this episode, we sit down with Nicole Antoinette who is a thru-hiker, author, connector. We talk about her journey to thru-hiking and becoming an author. We dive into her forthcoming memoirs, one of which is being released next week, called How to Be Alone. We talk about courage and permission to do hard things and follow our dreams. Please consider supporting my pod on Patreon: https://www.patreon.com/WomenofDistancePodcast_____________________________________________Women of Distance is a Chaski Media Production and brought to you by Chaski Endurance Collective, the world's leader in online coaching, community, and travel for endurance athletes. Learn more at chaski.run or on IG @chaski.endurance.______________________________________________Follow Nicole on instagram @nic.antoinetteFollow Devon on instagram: @fastfoodieFollow the podcast on instagram: @womenofdistance

"Of An Age" is an independent romantic drama written and directed by Goran Stolevski ("You Won't Be Alone") which follows a Serbian immigrant in Australia (Elias Anton) who enters a brief but intense romance with Adam (Thom Green), the brother of his ballroom dance partner Ebony (Hattie Hook). Goran was kind enough to spend some time talking with us about his second feature film, what it was like having two films come out the same year, his feelings on modern LGBTQ films, and more. The film is currently playing in theaters from Focus Feature, and our interview with Goran can be listed below. Enjoy, and thank you! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture