Podcast appearances and mentions of bobby mcgee

MONOLOGUE Mark Carney: The Davos Devil Here to Dismantle Canada—And He's Just Getting Started NEWSMAKER Danielle Smith leaves the door open for a vote on Alberta leaving Canada https://calgaryherald.com/opinion/columnists/bell-danielle-smith-vote-alberta-leaving-canada   Sheila Gunn-Reid, Rebel News' Alberta Bureau Chief and Host of “The Gunn Show” Wednesday 8pm ET OPEN LINES THE CULT OF CLIMATE CHANGE Dramatic cuts in China's air pollution drove surge in global warming https://www.newscientist.com/article/2474067-dramatic-cuts-in-chinas-air-pollution-drove-surge-inglobal-warming/   Global warming of more than 3°C this century may wipe 40% off the world's economy, new analysis reveals https://theconversation.com/global-warming-of-more-than-3-c-this-century-may-wipe-40-off-the-worlds-economy-new-analysis-reveals-253032   Tony Heller- Geologist, weather historian, founder of Real Climate Science dot com MONOLOGUE Mark Carney: Canada's Climate Conman Unmasked—Brookfield's Billions Over Our Blood NEWSMAKER A Catholic's caution about Mark Carney - Questions raised about Liberal leader and his party's principles https://www.catholicregister.org/item/1935-a-catholic-s-caution-about-mark-carney   Scott Ventureyra is an Ottawa-based philosopher, theologian, and author. His books include Making Sense of Nonsense: Navigating through the West's Current Quagmire. OPEN LINES THIS DAY IN ROCK HISTORY 2 Apr 1969 Bruce Springsteen's new group Child made their live debut at the Pandemonium Club in Wanamassa, New Jersey.   2 Apr 1971 Janis Joplin was at No.1 on the US album charts with the posthumously released Pearl. The album features the No.1 hit 'Me and Bobby McGee', written by Kris Kristofferson and Fred Foster on which she played acoustic guitar.    2 Apr 1977 Fleetwood Mac went to No.1 on the US album chart with Rumours. The album is Fleetwood Mac's most successful release; along with winning the Grammy Award for Album of the Year in 1978, the record has sold over 45 million copies worldwide.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Costa molt plegar quan et dediques a l'ofici de m

Send us a textNOTE: Ep 7-12 of Classic Rock Review will return March 3, 2025. In the meantime, you should play Guess the Year Season 7.Intro: Get It While You CanSong 1: Ball and Chain (Live June 18, 1967)Song 2: Down On MeSong 3: Piece of My HeartSong 4: Half MoonSong 5: Long Black TrainOutro: Me and Bobby McGee

Success in triathlon training and racing can be just as much mental as it is physical. You devote numerous hours to swimming, biking, and running to train your body, but what are you doing, if anything, to develop your mind? Can your mindset truly impact your performance results? On today's episode, mental skills coach Bobby McGee and triathlon coach Elizabeth James discuss this, and more! Join the discussion about the role emotions play in race preparation, combatting anxiety and nervousness, and employing practices such as visualization. This episode may be the key to help you unlock your performance potential through the development of mental skills!

I'm thrilled to bring back Bobby McGee, a legendary endurance coach with a knack for unlocking an athlete's full potential. But before we dive in, let me tell you a story about one of Bobby's transformative experiences. Imagine this, a room filled with some of the world's top Olympic coaches from sports as diverse as gymnastics, field hockey, and bobsledding. Bobby found himself immersed in conversations that challenged his perspective and sharpened his skills. And it wasn't just about technique or training plans. It was about understanding people on a deeper level. And this experience opened Bobby's eyes to the power of emotional intelligence in coaching and performance. It's something he's applied ever since. And in today's episode, Bobby shares some of the lessons he learned in that room. How understanding yourself and your coach can unlock new levels of performance and trust, and why mastering pacing strategies is crucial for success, and how fine tuning your mechanics can help you move more efficiently. It's a fascinating conversation filled with a lot of actionable advice, and whether you're a swimmer, a runner, a triathlete, I've got no doubt you'll take away a lot from this episode with Olympic run coach, Bobby McGee. Let's get into it. Coaching Concepts Athlete Profiling: Understanding Each Individual Athlete Emotional Analysis Building Trust Coaching Philosophies Coaching Olympic Level Athletes and Mid-Range Athletes Hardness Factor Thrive Mentality You've Got To Have That Killer Mentality Identifying Inefficiency Looking More Into Conditioning in Swimming Breathing Technique In Running Stroke Length and Stroke Rate Pacing and Energy Conservation Visualization

Repasamos la carrera de Nick Cave junto a Iván Muñiz y Jose Ángel Romera. Suenan: 01. Shivers 02. Dead joe 03. Tupelo 04. City of refugee 05. The ship song 06. Loverman 07. Stagger Lee 08. Are you the one 09. From her to eternity 10. Palaces of Monctezuma 11. There she goes 12. Jubilee Street 13. Bright horses 14. Song of the lake 15. Kris Kristofferson - Me and Bobby Mcgee + info - https://linktr.ee/b90podcast Espacio patrocinado por: Chisco Fernández Sainz - Tacksin65 - Ivanmnz - Ana Isabel Miguélez Domínguez - Pablo Carrasco Santos - Iñigo Albizu - Rachael - utxi73 - Jorge Sánchez - Javier Alcalde - Naïa - Dani GO - kharha - garageinc78 - Juan Carlos Acero Linares - Jaime Cruz Flórez - DOMINGO SANTABÁRBARA - bcn_music_fan -faeminoandtired - Jose Manuel Valera - Ivan Castro - Nerdo IsMe - Javi Portas - Belén Vaca - Ana FM - tueresgeorge - boldano - Eduardo Mayordomo Muñoz - Barrax de Pump - PDR - Fernando - QUIROGEA - J. Gutiérrez - Gabriel Vicente - Carlos Conseglieri - Miguel - Isabel Luengo - Franc Puerto - screaming - HugoBR - angelmedano - Vicente DC - victorguibor - Alvaro Gomez Marin - Achtungivoox - Alvaro Perez - Sergio Serrano - Antuan Clamarán - Isranet - Paco Gandia - ok_pablopg - Crisele - David Reig - Wasabi Segovia - Dani RM - Fernando Masero - María Garrido - RafaGP - Macu Chaleka - laura - davidgonsan - Juan Carlos Mazas - Rosa Rivas - Bassman Mugre - SrLara  - Próxima Estación Okinawa - Barullo - Megamazinger - Francisco Javier Indignado Hin - Unai Elordui - carmenlimbostar - Piri - Miguel Ángel Tinte - Jon Perez Nubla - Raul Sánchez - Nuria Sonabé - Pere Pasqual - Juanmi - JulMorGon - blinddogs - JM MORENTE - Alfonso Moya - Rubio Carbón - LaRubiaProducciones - cesmunsal - Marcos - jocio - Norberto Blanquer Solar - Tolo Sent - LIP -Carmen Ventura - Jordi y varias personas anónimas.

Joe Biden pardons Hunter Biden, South Korea and Syria erupt in conflict, and transgender medicine visits the Supreme Court. Find us on Youtube. The Bulletin welcomes Andy McCarthy (National Review) to talk about the Hunter Biden pardon. Then, Russell, Mike, and Clarissa talk about South Korean protests as conflict in Syria rises. Finally, we discuss the Supreme Court case related to transgender rights.   GO DEEPER WITH THE BULLETIN: Email us with your favorite segment from today's show at podcasts@christianitytoday.com. Grab some Bulletin merch in our holiday store! Find us on YouTube. Rate and review the show in your podcast app of choice. ABOUT THE GUEST:  Andrew C. McCarthy is a bestselling author, a contributing editor at National Review, a Fox News contributor, and a senior fellow at National Review Institute. A former chief assistant United States attorney in the Southern District of New York, he led the terrorism prosecution against the “Blind Sheikh” (Omar Abdel Rahman) and 11 other jihadists for conducting a war of urban terrorism against the United States that included the 1993 World Trade Center bombing and a plot to bomb New York City landmarks. He also contributed to the prosecutions of terrorists who bombed US embassies in Kenya and Tanzania. McCarthy is the cohost, along with NR editor in chief Rich Lowry, of The McCarthy Report, a podcast produced by National Review. ABOUT THE BULLETIN: The Bulletin is a weekly (and sometimes more!) current events show from Christianity Today hosted and moderated by Clarissa Moll, with senior commentary from Russell Moore (Christianity Today's editor in chief) and Mike Cosper (director, CT Media). Each week, the show explores current events and breaking news and shares a Christian perspective on issues that are shaping our world. We also offer special one-on-one conversations with writers, artists, and thought leaders whose impact on the world brings important significance to a Christian worldview, like Bono, Sharon McMahon, Harrison Scott Key, Frank Bruni, and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

“ Two of the devil's biggest lies are ‘You're the only one who struggles with this kind of stuff' and ‘You can't tell anyone.' Sin thrives in that kind of dark secrecy.” So says author and apologist Sam Allberry during this conversation with Russell Moore. The two discuss Allberry's new book, One with My Lord, and consider various ways people interpret the Bible's perspective on sexuality. They talk about gender identity, marriage, and what it means when God says it is not good for humans to be alone. Allberry and Moore consider the importance of friendship, the value of community, and the impact of social media on mental health.  They also discuss Allberry's experience with Ravi Zacharias International Ministries (RZIM), the Billy Graham rule, and fostering organizational cultures of transparency. Resources mentioned in this episode or recommended by the guest include: Is God Anti-Gay? And Other Questions About Jesus, the Bible, and Same-Sex Sexuality by Sam Allberry What God Has to Say about Our Bodies: How the Gospel Is Good News for Our Physical Selves by Sam Allberry Why Does God Care Who I Sleep With? by Sam Allberry 7 Myths about Singleness by Sam Allberry One with My Lord: The Life-Changing Reality of Being in Christ by Sam Allberry The Moral Vision of the New Testament: A Contemporary Introduction to New Testament Ethics by Richard B. Hays The Crucifixion: Understanding the Death of Jesus Christ by Fleming Rutledge “Interview with Sam Allberry || What Can We Learn from the Ravi Zacharias Scandals?” “Dallas pastor removed indefinitely due to 'inappropriate relationship' with woman, church says” “Sex Scandals and the Evangelical Mind” The Whole Christ: Legalism, Antinomianism, & Gospel Assurance―Why the Marrow Controversy Still Matters by Sinclair B. Ferguson “Me and Bobby McGee” by Kris Kristofferson The Power Broker: Robert Moses and the Fall of New York by Robert A. Caro Learn more about your ad choices. Visit podcastchoices.com/adchoices

What does a poem about the Canadian gold rush and the song "Me and Bobby McGee" written by Kris Kristofferson (famously covered by Janis Joplin) have in common? The are both tales of journeys that we can learn a lot from. Self isolation, regret, carrying burdens, heartache, keeping our word, feeling good, and freedom... just to name a few. Things we all deal with on our journeys in this life. In this episode we discuss the synchronicities that led to the creation of this #podcast episode, the story behind the song, the meaning of the lyrics and poem, lessons we can all take to make our life more fulfilled, with less regret and attachment, and the rest of the story about Janis Joplin's part. "Freedom's just another word for nothing left to lose" is a line I have been making sense of for over twenty years, and now it means something different to me. So don't trade all of your tomorrows for one single yesterday, but let go and feel good in the present moment, peace, love, and well-being. Cause feeling good is easy, when we sing the blues, You know feeling good is good enough for me, you, and Bobby McGee. FOR FULL SHOW NOTES AND LINKS VISIT: https://www.jasonmefford.com/jammingwithjason393/ MEET WITH ME MONTHLY: Join me each month for live group calls in The Spiritual Campfire™ at: https://jasonmefford.mykajabi.com/the-spiritual-campfire CONNECT WITH ME ON SOCIAL MEDIA: My YouTube channel [https://www.youtube.com/c/jasonleemefford] and make sure to subscribe My Facebook page [https://www.facebook.com/jammingwithjasonmefford] My LinkedIn page [https://www.linkedin.com/in/jasonmefford/] My website [https://jasonmefford.com] LIKED THE PODCAST? If you're the kind of person who likes to help others, then share this with your friends and family. If you found value, the will too. Please leave a review [https://itunes.apple.com/us/podcast/jamming-with-jason-mefford/id1456660699] on Apple Podcasts so we can reach more people. STAY UP TO DATE WITH NEW CONTENT: It can be difficult to find information on social media and the internet, but you get treated like a VIP and have one convenient list of new content delivered to you inbox each week when you subscribe to Jason's VIP Lounge at: https://jasonmefford.com/vip/ plus that way you can communicate with me through email. --- Support this podcast: https://podcasters.spotify.com/pod/show/jammingwithjason/support

Con 1915, The Flirtations, Freemasons featuring Sylvia Mason-James Sylvia Mason-James, Southside Johnny & the Asbury Jukes, Aerolineas Federales, Aurelio y los Vagabundos, Everithing but the girl, Nico, Enrique Urquijo y Los Problemas, Kris Kristofferson, Janis Joplin, Gabriel Sopeña fet. Loquillo, Los Sirex, Loquillo Y Rebeldes, los Rodríguez

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Lisa sends Pat a birthday pie. Lisa has a surprise for Pat during this podcast. This upcoming election is creating a LOT of anxiety. Pat has issues in the shower. Laughter padding is a thing. Songs in this episode: “Peter Gunn Theme” Henry Mancini (1958) “Me and Bobby McGee” Janis …

In dieser Ausgabe widmen wir den ersten Teil der Country-Legende Kris Kristofferson. Der Sänger, Songschreiber und Schauspieler ist im Alter von 88 Jahren verstorben. Wir tauchen ein, in die bewegende Welt von Kris Kristofferson! Wir ehren das Erbe eines Künstlers, dessen Worte und Melodien Generationen berührt haben. Mit Hits wie „Me and Bobby McGee und „Sunday Mornin' Comin' Down hat er nicht nur die Country-Musik geprägt, sondern auch die Herzen vieler Menschen erreicht. Seine Fähigkeit, tiefgründige Geschichten in einfache, aber kraftvolle Texte zu verwandeln, machte ihn zu einem der größten Songwriter seiner Zeit. Kris war nicht nur ein Meister des Geschichtenerzählens, sondern auch ein leidenschaftlicher Performer, der mit seiner rauen Stimme und charismatischen Bühnenpräsenz das Publikum fesselte. Sein Einfluss reicht weit über die Musik hinaus – als Schauspieler und Aktivist setzte er sich für soziale Gerechtigkeit ein und inspirierte viele, für ihre Überzeugungen einzutreten. Doch das ist noch nicht alles! Freu dich auf neue Songs von Miranda Lambert, George Strait, Mickey Guyton und Luke Bryan – alle haben neue Alben veröffentlicht, die darauf warten, entdeckt zu werden. Press Play

Beloved British actor of stage and screen Maggie Smith died last week at age 89. Though the Oscar-winner had a long and successful career, it wasn't until she was in her 70s that she got approached by scores of fans. "It only happened to me since Downton Abbey, so I blame the whole thing on television." We revisit Dave Davies' 2016 interview with Smith. Also, we remember singer, songwriter, and actor Kris Kristofferson. He was a Rhodes Scholar, and an Army Ranger before taking a chance at songwriting. "Me and Bobby McGee" is perhaps his most famous song, recorded by Janis Joplin. He told Terry Gross in 1999. Also, John Powers reviews the new film Wolfs, starring George Clooney and Brad Pitt on Apple TV+.To keep up with what's on Fresh Air and get a peek behind the scenes, subscribe to our free weekly newsletter. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

PLUS: A new NHL series shines a light on the league – and its relationship with Amazon; how Greenland sharks live up to 500 years and what that might mean for cancer research; how Gordon Lightfoot beat Janis Joplin to a #1 hit with Kris Kristofferson's Me and Bobby McGee; and Riffed from the Headlines, our weekly musical news quiz.

Ens ha deixat Kris Kristofferson, un dels grans del country modern. Per aquest motiu, hem repassat el can

Ens ha deixat Kris Kristofferson, un dels grans del country modern. Per aquest motiu, hem repassat el can

Beloved British actor of stage and screen Maggie Smith died last week at age 89. Though the Oscar-winner had a long and successful career, it wasn't until she was in her 70s that she got approached by scores of fans. "It only happened to me since Downton Abbey, so I blame the whole thing on television." We revisit Dave Davies' 2016 interview with Smith. Also, we remember singer, songwriter, and actor Kris Kristofferson. He was a Rhodes Scholar, and an Army Ranger before taking a chance at songwriting. "Me and Bobby McGee" is perhaps his most famous song, recorded by Janis Joplin. He told Terry Gross in 1999. Also, John Powers reviews the new film Wolfs, starring George Clooney and Brad Pitt on Apple TV+.To keep up with what's on Fresh Air and get a peek behind the scenes, subscribe to our free weekly newsletter. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Henson Cargill - "Me and Bobby McGee" [0:00:00] Dottie West - "Help Me Make It Through The Night" [0:09:40] Waylon Jennings - "Lovin' Her Was Easier (Than Anything I'll Ever Do Again)" [0:12:14] Kris Kristofferson - "Broken Freedom Song" [0:15:03] Johnny Cash - "Sunday Morning Coming Down" [0:20:17] Carl Dean - "Bobbie McGee" [0:27:31] Lily Fields - "Help Me Make It Through The Night" [0:30:40] Sandy Eddlemon - "One Day At A Time" [0:34:27] The Highwaymen - "Highwayman" [0:37:12] Al Green - "For The Good Times (live on Soul Train)" [0:40:33] Lynn Anderson - "For The Good Times" [0:48:17] Emmylou Harris & Rodney Crowell - "Chase The Feeling" [0:55:04] Kris Kristofferson - "The Pilgrim: Chapter 33" [0:57:14] https://www.wfmu.org/playlists/shows/144664

Henson Cargill - "Me and Bobby McGee" [0:00:00] Dottie West - "Help Me Make It Through The Night" [0:09:40] Waylon Jennings - "Lovin' Her Was Easier (Than Anything I'll Ever Do Again)" [0:12:14] Kris Kristofferson - "Broken Freedom Song" [0:15:03] Johnny Cash - "Sunday Morning Coming Down" [0:20:17] Carl Dean - "Bobbie McGee" [0:27:31] Lily Fields - "Help Me Make It Through The Night" [0:30:40] Sandy Eddlemon - "One Day At A Time" [0:34:27] The Highwaymen - "Highwayman" [0:37:12] Al Green - "For The Good Times (live on Soul Train)" [0:40:33] Lynn Anderson - "For The Good Times" [0:48:17] Emmylou Harris & Rodney Crowell - "Chase The Feeling" [0:55:04] Kris Kristofferson - "The Pilgrim: Chapter 33" [0:57:14] https://www.wfmu.org/playlists/shows/144664

Desfiamos o Norte Surf Fest com todas suas consequências e prazeres escondidos. Nesse episódio do Boia, Júlio Adler e João Valente vislumbram as vicissitudes de olhar para o futuro sem dar as costas para o passado. O que aconteceu no Porto (e Matosinhos!) foi digno da atenção dos nossos 13 leais ouvintes - o ato de correr ondas é tão imensamente maior do que WSL, umbigos e redes sociais... Miguel Pedreira enviou um audio! Tocamos duas canções do Kris Kristofferson, começando pelo épico conto cantado, , ‘To Beat the Devil' (1970) e encerrando com o clássico, ‘Me and Bobby McGee' (1970), eternizado por Janis Joplin, interpretado por Kris Kristofferson e Rita Coolidge.

pWotD Episode 2708: Kris Kristofferson Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,696,188 views on Monday, 30 September 2024 our article of the day is Kris Kristofferson.Kristoffer Kristofferson (June 22, 1936 – September 28, 2024) was an American country singer, songwriter, and actor.Kristofferson was a pioneering figure in the outlaw country movement of the 1970s, moving away from the polished Nashville sound and toward a more raw, introspective style. He released his debut album Kristofferson in 1970. Among his songwriting credits are "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night", all of which became hits for other artists. Kristofferson was also a member of the country music supergroup the Highwaymen between 1985 and 1995. He was inducted into the Country Music Hall of Fame in 2004 and received the Grammy Lifetime Achievement Award in 2014.During the 1970s, Kristofferson also embarked on a successful career as a Hollywood actor. He became known for his roles in Pat Garrett and Billy the Kid (1973), Blume in Love (1973), Alice Doesn't Live Here Anymore (1974), and A Star Is Born (1976); for the latter, he earned a Golden Globe Award for Best Actor. His acting career waned somewhat following his role in the box office bomb Heaven's Gate (1980), but he continued to act in films such as Stagecoach (1986), Lone Star (1996), and the Blade film trilogy (1998–2004).This recording reflects the Wikipedia text as of 01:26 UTC on Tuesday, 1 October 2024.For the full current version of the article, see Kris Kristofferson on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Joey.

MUSIC Foo Fighters are reportedly 'set to take a hiatus' while Dave Grohl works to 'earn back the trust of his family' after his affair scandal. Prince's house from "Purple Rain" is being offered on Airbnb for 25 one-night stays. The house has been transformed into a shrine to both the movie and Prince. His former bandmates Wendy and Lisa helped set it up.   Chappell Roan backed out of a festival gig to, quote, "prioritize my mental health." RIP: Singer, songwriter, award-winning actor and activist Kris Kristofferson died Saturday (September 28th) at his home in Maui, Hawaii at the age of 88. Born June 22,1936 in Brownsville, Texas, Kristofferson was a Rhodes Scholar and entered into the military at the urging of his father who was a Major General in the Air Force. After an honorable discharge he moved to Nashville and worked as a janitor at a recording studio while he pursued a career in songwriting. He got his big break when Johnny Cash recorded his song, “Sunday Morning Coming Down.” Many of the songs he wrote, including “Me and Bobby McGee,” “For the Good Times,” “Lovin' Her Was Easier” and “Help Me Make it Through the Night” became classics. He began a recording career in the 1970s and won four Grammy Awards including two for his work with his then-wife Rita Coolidge. Between 1985 and '95, he recorded three albums as a member of the country supergroup The Highwaymen, with Willie Nelson, Johnny Cash and Waylon Jennings. He was inducted into the Country Music Hall of Fame in 2004. He also had a successful movie career, appearing in more than 90 films, including Blume in Love, Alice Doesn't Live Here Anymore, Semi-Tough and A Star is Born with Barbra Streisand, for which he won a Golden Globe for Best Actor. Starting in the first decade of this century, Kristofferson dealt with a number of health issues, including loss of memory. He was diagnosed first with fibromyalgia and later with Alzheimer's disease, but those were later revealed to have actually been Lyme disease. When he received the correct drugs for it, much of his memory returned. Kristofferson is survived by his wife of 41 years, Lisa; eight children, Tracy, Kris Jr., Casey, Jesse, Jody, John, Kelly, and Blake; and seven grandchildren. They offered this statement on his passing:  “It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, September 28th at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all.”  RIP: John Ashton, the actor, best known for his role as Detective Sergeant John Taggart in the Beverly Hills Cop franchise, died at age 76. Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams > Check out King Scott's band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoices

Country music lost one of its iconic figures as “Me and Bobby McGee” author and “A Star is Born” actor Kris Kristofferson died Saturday at 88 years old at his home in Maui, Hawaii.  September 30th 2024   ---  Please Like, Comment and Follow 'The Ray Appleton Show' on all platforms:   ---    'The Ray Appleton Show' is available on the KMJNOW app, Apple Podcasts, Spotify, YouTube or wherever else you listen to podcasts.    ---  'The Ray Appleton Show'   Weekdays 11 AM -2 PM Pacific on News/Talk 580 AM & 105.9 KMJ    | Website  | Facebook | Podcast |   -  Everything KMJ   KMJNOW App | Podcasts | Facebook | X | Instagram   See omnystudio.com/listener for privacy information.

El dibujante Pep Domingo (Nadar) y Xavier Betaucourt firman 'Regreso a Garden City', un comic sobre aquel marzo de 1967 en el que Truman Capote, escritor, volvió al lugar del crimen de su 'A sangre fría' para visitar el rodaje de la película que adaptaba su novela y después de regresar a Garden City. Con Mery Cuesta visitamos la exposición '31 mujeres. Una exposición de Peggy Guggenheim' que comisaria Patricia Mayayo en Fundación Mapfre. Se inspira en una muestra que la coleccionista Peggy Guggenheim organizó en 1943 y que se recrea hoy en 2024.Hoy ha muerto, a los 88 años, Kris Kristofferson, que no sólo es uno de los nombres indispensables de la música del siglo XX. Para muestra su Me and Bobby Mcgee que popularizó Janis Joplin. Sino que también dejó su huella en medio centenar de películas.Viajamos ahora a Londres en un viaje físico y temporal, hacía los finales del siglo XIX, principios del XX. Londres era entonces la ciudad más poblada del mundo y la capital de la revolución industrial y ahí estaba Claude Monet, a las orillas del Támesis, pintando, capturando, los cambios de luz sobre el río londinense. Ahí nació una de las famosas series del maestro impresionista francés: "Vistas sobre el Támesis". Parte de estas obras se exponen hasta enero en la Galería Courtauld de Londres.Escuchar audio

Les États-Unis abandonneraient leur projet de transformer la Mission multinationale de soutien à la sécurité dans en Haïti en mission de paix de l'ONU, selon l'agence de presse Reuters. L'information est relayée en Haïti par Radio Télé Métronome, qui reprend une dépêche de l'agence de presse Reuters : les États-Unis abandonneraient leur projet de transformer la Mission multinationale de soutien à la sécurité dans le pays en mission de paix de l'ONU - en tous cas pour le moment, précise le Miami Herald. En cause, selon certains diplomates : la pression de la Russie et de la Chine, qui auraient brandi la menace de leur veto.La proposition de transformation de la force a été enlevée du texte qui sera mis au vote ce lundi (30 septembre 2024), au Conseil de sécurité de l'ONU, sur l'extension d'un an du mandat de la MMSS. Car si la police kenyane n'est arrivée sur place que fin juin 2024, la mission avait en fait été approuvée en octobre 2023.Pendant ce temps, en Haïti même, on ne sait plus vraiment si Edgard Leblanc Fils va passer comme prévu la présidence du Conseil présidentiel de transition samedi prochain (5 octobre 2024). Interrogé sur ce point, rapporte Gazette Haïti, Edgard Leblanc a évité de donner « une réponse claire, préférant rappeler son statut de ‘Président' du Conseil présidentiel de Transition sans pour autant confirmer ou infirmer une éventuelle continuité ou passation de pouvoir ».Rentrée des classes en HaïtiC'est la rentrée des classes cette semaine en Haïti, mais bon nombre de parents ne sont pas prêts : beaucoup ne vivent pas chez eux mais dans d'autres quartiers à cause de la violence des gangs, et de nombreuses familles n'ont pas les moyens de payer les frais scolaires sans une aide gouvernementale restée pour l'instant au stade de promesse. « Nous n'avons même pas le minimum pour faire face à nos responsabilités », se désole Carl, mécanicien et père de trois enfants rencontré par le correspondant de RFI Peterson Luxama. Philippe, qui habitait à Carrefour Feuilles, explique de son côté que son fils qui est en troisième année de médecine va devoir arrêter ses études.Le gouvernement prévoit cette année (2024) de verser l'équivalent de 150 dollars américains à 261 000 parents d'élèves. Une démarche critiquée par des organisations d'enseignants, dont l'Union de parents d'élèves progressistes d'Haïti (UPEPH), qui parle d'un geste uniquement symbolique.Helene dévaste l'est des États-UnisLe bilan provisoire de l'ouragan Helene est d'au moins 100 morts. Un lourd bilan humain, provoqué par « dévastation d'ampleur biblique », titre USA Today, sur près de « 1 000 kilomètres », de la Floride au Tennessee, précise le New York Times, qui a cartographié, en images et en vidéo, le chemin de destruction creusé par l'ouragan : dans le Tennessee, à Newport c'est une maison mise à nu, dont il manque toute la façade, ou encore, à Erwin, un hôpital submergé par les flots, jusqu'au toit. En Floride, la ville de Horseshoe Beach a vu une partie de ses maisons littéralement aplaties et réduites en copeaux de bois.Mais c'est la Caroline du Nord qui a payé le plus lourd tribut, avec au moins 37 morts. Le Washington Post raconte comment « Helene a avalé une ville située sur une montagne, l'effaçant totalement ». Car ce sont, en partie, les villes nichées dans les montagnes couvertes de forêts de l'ouest de l'État qui ont subi les destructions les plus importantes, explique le New York Times.Selon les scientifiques, le nombre d'ouragans de type Helene devrait augmenter, et c'est déjà le cas : « Ces désastres naturels qui ne semblent plus naturels », écrit USA Today, qui reprend les témoignages d'habitants de Floride mais aussi d'autres États qui voient le nombre de ces « catastrophes naturelles » augmenter, avec des coûts qui ont explosé : 18 milliards par an ces cinq dernières années, au lieu d'un milliard par an depuis le début des années 80.Donald Trump insulte Kamala HarrisAux États-Unis, la campagne électorale se poursuit, avec un Donald Trump fidèle à lui-même, peut-être un peu trop au goût de certains observateurs et responsables politiques. Le candidat républicain a clairement choisi sa ligne, pour conforter sa base : c'est la provocation, rapporte le correspondant de RFI aux États-Unis, Guillaume Naudin. Le candidat a ainsi décrit ce dimanche (29 septembre 2024) dans le Wisconsin une Kamala Harris née « déficiente mentale ». En Argentine, Javier Milei change d'avis sur la ChineLe président argentin, rappelle Clarin, était très critique de Pékin lors de sa campagne électorale : « Nous, nous ne signons pas de pactes avec les communistes ». Mais ce dimanche, lors d'une interview, Javier Milei a annoncé qu'il irait en janvier prochain (2025) en Chine : « J'ai été agréablement surpris par la Chine. La Chine est un partenaire commercial très intéressant car elle n'exige rien. Tout ce qu'elle demande, c'est de ne pas être dérangée ». Clarin note que déjà, depuis son élection, Javier Milei était resté prudent avec Pékin. Le prix Vaclav Havel pour Maria Corina MachadoLe Conseil de l'Europe attribue à Maria Corina Machado le prix des droits de l'homme Vaclav Havel. L'opposante vénézuélienne qui vit dans la clandestinité depuis la présidentielle de juillet et la réélection contestée de Nicolas Maduro a réagi en estimant que la dictature courait à sa « chute inévitable ». La gestion des déchets en BolivieEn Bolivie, un groupe d'étudiants d'el Alto tentent de protéger l'environnement en s'attaquant à la question des déchets. Aujourd'hui, seuls 16% des déchets sont collectés correctement, tout le reste finit dans des décharges à ciel ouvert ou brûlé en plein air par les habitants.Ces étudiants, eux, font le tri, récupèrent les déchets organiques pour les transformer et les réutiliser. Nils Sabin est allé à leur rencontre. Le journal de La 1èreEn Guadeloupe, situation toujours bloquée dans le conflit qui oppose EDF au syndicat CGTG… La mort de l'acteur et star de la country Kris KristoffersonC'est lui qui avait écrit la chanson « Me and Bobby McGee », dont Janis Joplin a fait un tube. Kris Kristofferson avait 88 ans, et, écrit Rolling Stone, « les paroles poétiques de ses chansons ont transcendé le genre » : « il a transformé les paroles des chansons en littérature, élevant son métier à une véritable forme d'art américain, comme peu l'avaient fait avant lui ». Dans le même temps, rappelle le Washington Post, « sa voix rocailleuse et son sex appeal » lui ont aussi permis de développer une carrière à Hollywood : il a entre autres joué dans «A star is born» aux côtés de Barbra Streisand, et dans le très beau film de Sam Peckinpah «Pat Garret et Billy le Kid», aux côtés entre autres de Bob Dylan.

Kristoffer Kristofferson was an American country singer, songwriter, and actor. Among his songwriting credits are "Me and Bobby McGee", "For the Good Times", "Sunday Mornin' Comin' Down", and "Help Me Make It Through the Night", all of which were hits for other artists.

Wir erinnern an den Musiker und Songwriter Kris Kristofferson, der mit Songs wie "Me and Bobby McGee weltberühmt wurde. Außerdem: Die neue Serie "Herrhausen - Der Herr des Geldes" und eine Premierenkritik der Operette "Die schöne Helena" am Landestheater Niederbayern in Passau.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Dave BinckJanis Joplin “Me and Bobby McGee" from the 1971 album "Pearl" released on Columbia. Written by Kris Kristofferson  and Fred Foster and produced by Paul A Rothchild.Personel:Full Tilt Boogie BandJanis Joplin – vocals, acoustic guitarRichard Bell – pianoKen Pearson – Hammond organJohn Till – electric guitarBrad Campbell – bass guitarClark Pierson – drumsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Johnny Cash

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Dave BinckJanis Joplin “Me and Bobby McGee" from the 1971 album "Pearl" released on Columbia. Written by Kris Kristofferson  and Fred Foster and produced by Paul A Rothchild.Personel:Full Tilt Boogie BandJanis Joplin – vocals, acoustic guitar Richard Bell – pianoKen Pearson – Hammond organJohn Till – electric guitarBrad Campbell – bass guitarClark Pierson – drumsCover:Performed by Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Steph CurryLeBron JamesHermanos GutierrezHabeCounting CrowsSantanaMarcy's PlaygroundWoody GuthrieKenny RogersJimi Hendrix “All Along the Watchtower”Big Brother and the Holding CompanyBline Melon “Change”La StradaFederico FelliniBrokeback MountainThe Doors “People Are Strange”The Paul Butterfield Blues BandJanis Joplin “Piece of My Heart”Janis Joplin “Cry Baby”Janis Joplin “Mercedes Bendz”Otis Redding “Sittin on the Dock of the Bay”Gordon Lightfoot “If You Could Read My Mind”Jerry Lee LewisJennifer Love HewittTaylor SwiftBob DylanJoe CockerThe Doors “LA Woman”Phil OaksMerle HaggardAretha FranklinNina SimoneBillie HollidayFleetwood MacHeartJoan JettThe Grateful DeadRick DankoThe BandLed Zeppelin “Going to California”Paul Simon “Homeward Bound”Paul Simon “America”Neil Young “Out on the Weekend”Lee Greenwood “God Bless the USA”Tracey Chapman “Fast Car”Willie NelsonWaylon Jennings “Lonesome, Orn'ry and Mean”The HighwaymenJohnny CashBob WeirRoger MillerCaptain KangarooHank Williams, Jr.

For the first time in history, the Paris 2024 Olympics saw an equal number of men and women competing. But that's not always been the case - in fact, back in 1912, the father of the Olympic games Pierre de Coubertin said that having women compete in the games would be 'impractical, uninteresting, ungainly and, I do not hesitate to add, improper'. Luckily, the Olympics didn't just have the father of the games – it also had the MOTHER of games, Alice Milliat. BBC Mundo's Laura Garcia tells us all about this sometimes forgotten figure behind the Olympics.One of the most influential women in the tech industry has died. Susan Wojcicki, the former CEO of YouTube and one of Google's earliest employees, died on Friday at the age of 56 from lung cancer. Sheryl Sandberg, the former Chief Operating Officer at Meta, paid tribute to Wojcicki on Instagram, writing: "As one of the most important women leaders in tech — the first to lead a major company — she was dedicated to expanding opportunities for women across Silicon Valley. I don't believe my career would be what it is today without her unwavering support." Professor Gina Neff, executive director of the Minderoo Centre for Technology at University of Cambridge, discusses her impact.The Paris Paralympics are two weeks away, and Nuala is joined by archery champion Jodie Grinham. Having already won a silver medal in Rio and a gold at this year's European Para Cup, Jodie will be looking to win a medal again this summer. She has already broken one record, being the first member of Team GB's para team to compete whilst pregnant.The Wicker Man is regarded as a masterpiece of British cinema. But when the film was first released in 1973, it was a flop, and the director Robin Hardy was secretly relying on his wife Caroline to bankroll the entire production. Their son Justin Hardy talks to Nuala about the cache of long lost letters that revealed his mother's hidden role and about his documentary, Children of The Wicker Man.Mary Bridget Davies is playing Janis in A Night With Janis Joplin. It's a biographical musical about the life of Janis Joplin and her musical influences. It includes all the big Janis hits, including Piece of My Heart, Cry Baby, Me and Bobby McGee performed by Mary - a role she was Tony-nominated for in the Broadway version of the musical.Presenter: Nuala McGovern Producer: Kirsty Starkey

Show Sponsor: UCAN UCAN created LIVSTEADY as an alternative to sugar based nutrition products. LIVSTEADY was purposefully designed to work with your body, delivering long-lasting energy you can feel. Whether UCAN Energy Powders, Bars or Gels, LIVSTEADY's unique time-release profile allows your body to access energy consistently throughout the day, unlocking your natural ability to finish stronger and recover more quickly!    In Today's Show Cycling News/Updates - Ragbrai Roundup, Cycling Time Trial in Paris Triathlon News/Updates - Womens and Mens Triathlon, Boulder TPS Ask A Coach - How best to improve swim stamina?    303Cycling News and Updates: 'Restores my faith in humanity': RAGBRAI 2024 riders reflect at end of hilliest route ever Des Moines Register     303Triathlon News and Updates: Taylor Spivey's 10th Place Leads U.S. Olympic Women at the Paris 2024 Olympic Games   First-Time Olympian Seth Rider Leads U.S. Men at the Paris 2024 Olympic Games     Boulder TriDot Pool School Tim O'Donnell and Bobby McGee 16 athletes 11.4 second per 100 yard average improvement; range 0-30 seconds savings per 100 2-3 strokes per length efficiency gain   Ask A Coach: How best to improve swim stamina?  Natalia: For those like me building some stamina. Do we still get some gains if using pull buoys OR paddles while swimming longer than a hour? Not to avoid physical but mental fatigue. I like swimming but 2 hours in the pool gets tough/ boring. Or what's the alternative? If any. I'm interested to hear your thoughts on that. Thanks, coach!   Do we still get some gains if using pull buoys OR paddles while swimming longer than a hour? Key context "building some stamina" confirmed that this is the real goal Key context "2 hours in the pool gets tough/boring" Key context "Not to avoid physical but mental fatigue"   Let's work with the context statements first starting with 2 hour sessions leading to boredom and mental fatigue. I get it, at the end of an hour, I'm pretty spent mentally and swimming endless laps can get boring. I think the key is how do you make the time you have in the pool both productive and engaging/interesting. Let's face it, if you are training for an IM you are likely doing 4K+ y/m training sessions. These longer "endurance" sessions are geared toward building your "endurance". There is no shortcut, but there may be some things we can do to make limit those longer sessions and make them more engaging when you do.   Start with fast before you go far. You don't have to do 4K sessions all through your IM training plan. Save those longer distance efforts until you are withing the last 2 months before your IM. When the longer sessions come, know you get 80% of the benefit in the last 20% from and endurance perspective, so look forward to the pushing those extra yards at that stage. In the mean time, reduce the time in the pool by getting faster. If you save 10 seconds/100 that's a 400 seconds or 6.5 minutes time savings over 4K. Dedicate time in each session to work on form and drills that reduce drag, resistance and misdirection.   Second context statement around "building some stamina". I like to think of Stamina as a place between endurance and speed. If you have properly trained at the two extremes 1) endurance and 2) speed, "stamina" becomes the biproduct. The ability to go longer, faster. As you get closer to your race, you do more zone 3 "race specific" pacing.   So back to the "do I get gains if using pull buoys or paddles while swimming longer than an hour?"   Paddles are good for developing strength, which is also important for stamina. You can also use swim bands at home to work on high elbow catch and stroke finish with hand finishing at your thigh. That said, I recommend focusing on efficiency first. Work on drills that develop unconscious habits of good functional form. The best measure of efficiency is distance per stroke. The few strokes to cross a given distance the less drag and less power required to get through the water. You can develop more distance per stroke with efficiency and form than you can with a strong pull.   Pull buoys are good for drills where you just want to focus on arm and breathing coordination drills and taking the kick out of the equation. Used specifically for that purpose, it's a good tool to have in your pack. Beyond that, it doesn't help you focus on your balance because it acts as a compensator for a lack of ability to control your body balance with kick and form. Used too often, or as a crutch, it can rob you of repetitions where you focus on improving your form and slow your development to being a faster swimmer over distance. Train With Coach Rich: TriDot Signup - https://app.tridot.com/onboard/sign-up/richsoares RunDot Signup - https://app.rundot.com/onboard/sign-up/richsoares

Snow takes a break from her Arizona road trip to give MJ a therapy session about his need to save all the baby turtles and to play  the super hero to people in distress. Join us for a story of a typical day in the life of MJ when he picks up the phone #GreenDay #FreeTheDonkey #TurtlesFollow us at Reality Redemption on Facebook, Instagram and Twitter

Welcome to Episode 17 of Roots Music Rambler! Join us – hosts Francesca Folinazzo (Frank) and Jason Falls (Falls) as we explore the real roots of the music we love. This week, folk music legend Si Kahn joins the program to celebrate his 80th birthday (April 23). He looks back on his over 50-year career of making music and talks about a new album coming out in September called “Labor Day.”  Kahn is a long-time labor organizer and advocate whose songs are typically laced with political punditry and satire. His first album, New Wood, was recorded in the 1970s and chronicled electioneering and old boy's clubs of small mountain towns, among other themes.  Kahn has recorded over 20 albums and written four books, the latter of those mostly focus on community organizing and grass-roots community building. He is the former leader of Grassroots Leadership and has served in various roles with songwriting unions and organizations over the years. In 1987, Kahn recorded Carry It On: Songs of America's Working People with Jane Sapp and legendary folk singer-songwriter Pete Seeger. He has also written several theatrical plays and musicals.  Frank and Falls also discuss the ambiguous definition of Americana music and, of course, offer up another offering of Pickin' the Grinnin' – recommendations for you to discover new or rediscover older music this week.  Don't forget you can now show your support of the show with Roots Music Rambler's new merch, now available at rootsmusicrambler.com/store. Authentic t-shirts, hats and stickers are now available.  Buckle up for The Hoe-Down and the Throw-Down! It's a new episode of Roots Music Rambler. Notes and links: Americana Music Association's definition of Americana Si Kahn online Si Kahn on Spotify The Charlie Daniel's Band on Spotify Born in the USA by Bruce Springsteen on Spotify Nebraska by Bruce Springsteen on Spotify John Prine's Paradise on Spotify Bob Dylan on Spotify Me and Bobby McGee by Kris Kristofferson on Spotify Harry Chapin's Cats in the Cradle on Spotify Musk Ox Flannels (Use RAMBLER for a discount) New Wood by Si Kahn on Spotify The Roots Music Rambler Store Roots Music Rambler on Instagram Roots Music Rambler on TikTok  Roots Music Rambler on Facebook Jason Falls on Instagram Francesca Folinazzo on Instagram Pickin' the Grinnin' Recommendations Sierra Ferrell's Trail of Flowers on Spotify The Animals on Spotify And be sure to get your MuskOx premium flannel shirts just in time for fall. Use the code RAMBLER on checkout for a discount! - https://gomuskox.com/rambler Subscribe to Roots Music Rambler on Spotify, Apple Podcasts, Google Podcasts, GoodPods or wherever you get your podcasts. Theme Music: Sheepskin & Beeswax by Genticorum Learn more about your ad choices. Visit megaphone.fm/adchoices

"Freedom's just another word for nothin' left to lose,And nothin' ain't worth nothin' but it's free,Feelin' good was easy, Lord, when Bobby sang the blues,And buddy, that was good enough for me,Good enough for me and my Bobby McGee"Please join me and Bobby McGee for some musical freedom on the Red Eye Edition of Whole 'Nuther Thing.Joining us on this Morning's journey are David Bowie, Peter Himmelman, Judy Collins, Peter Frampton, War, Crosby Stills & Nash, Pat Metheny, Boz Scaggs, ELO, Oasis, The Moody Blues, Doors, Chris Isaak, Derek & The Dominos, Jackson Browne, Marvin Gaye, Tears For Fears, Tom Petty, Paul Simon, Counting Crows and Janis Joplin...

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Today from Lubbock, TX, on Locked On Texas Tech: - breakaway CFB civilizations - pro unequal revenue sharing? - Bobby McGee conference - spring o-line lay of the land All coming up on Locked On Texas Tech -- the best daily podcast made for Red Raiders, by Red Raiders! Part of the Locked On Podcast Network Follow & Subscribe on all Podcast platforms…

Who says you can't get stronger as you get older? Today, Strength and RunForm Coach Matt Pendola is back and this time he's accompanied by one of his clients, Michael 'Stoke' Stoker, one member of a small group who Matt affectionately refers to as 'The Silverbacks'.   73 year old Stoke joins us to speak about how his 20 years of work with Matt has enabled him to continue powder skiing well into his 70's, and build his strength up to the point where he can now do 7 full pull ups using the gymnastic rings (having been unable to do just 1 when he was 60).   Matt walks us through his approach to working with older athletes, and some of the very specific exercises he includes as well as others which he avoids. If you're looking for inspiration both in your strength training and from a 73 years young ‘silverback' athlete, please pay attention as we also discuss:   Building grip and core strength to improve pull up strength Why plyometrics and mobility work are hugely important for older athletes Older athletes need better force production Let your body tell you how much recovery it needs The benefits of kettlebell training for female athletes Fitness aging and longevity: It's all about lifestyle choices   You can follow Matt on: Instagram: @PendolaProject Facebook: PendolaProject Website: https://www.pendolaproject.com and check out his programs including a free movement improvement assessment and protocol   Some special offers from Matt for podcast listeners: Use this code —>>> MATT10. This will get you 10% off Matt's R3 strength program or RunFORM. Matt will also send you "Triathlon in season strength training anywhere" (bodyweight and bands) 6 week program at no additional cost (normally $100).   Listen to Matt and Bobby McGee on their RunFORM podcast ask him any question on the free app: https://link.anyquestion.com/pendolaproject    Matt also recommended the following book: Rebuilding Milo -  by Dr. Aaron Horshcig. The lifters guide to fixing common injuries and building a strong foundation for enhancing performance.   To contact Beth regarding Life Coaching, please email her at Info@BethanyWardLifeCoaching.uk. To leave a review of the podcast on Apple podcasts CLICK HERE. Sports Nutrition questions - if you have a sports nutrition question that you would like answered on the podcast, please email it to me via Beth@TheTriathlonCoach.com. Join our SWAT/High Performance Human tribe using this link, with a happiness guarantee! You can watch a brief video about the group by going to our website here, and join our SWAT High Performance Human tribe here. Purchase a copy of my High Performance Human e-book featuring more than 30 top tips on how to upgrade your life. If you would like to help offset the cost of our podcast production, we would be so grateful. Please click here to support the HPH podcast. Thank you! Visit Simon's website for more information about his coaching programmes. Links to all of Simon's social media channels can be found here.  For any questions please email Beth@TheTriathlonCoach.com.

Este capítulo de Los Intocables va de esas canciones que van directas al grano. Nada de circunloquios, metáforas oscuras, ideas yuxtapuestas o digresiones que te alejan del asunto principal. En estas canciones, el compositor o la compositora, quiere que quede perfectamente claro a quién va dirigida la canción, quién es el objeto de su deseo, el causante de sus penas, el amigo que nunca falla o la persona que hace brillar las estrellas con más intensidad.El programa busca canciones con nombre de hombre.Suenan1.-Fernando. ABBA2.-Fernando. Sheila3.-Vota Juan 26. Miguel Bosé4.-Angelo. Brotherhood of man.5.-Diego libre dans sa tete. Johnny Hallyday (Meter por debajo desde 1:20”)6.-Lucas. Raffaella Carrá7.-Daniel. Elton John8.-Yo y Bobby McGee. Gabriel Sopeña y Loquillo9.-Denis. Blondie10.-Billy Joe. Dinamita pa los Pollos11.-Mil Migueles. Los Gadules12.-Danny Boy. Tom Jones13.-Hey Jude. Paul McCartney

Freedom is not just doing,  Whatever you want to do,  But letting go of ego control,  So Spirit can have her way with you. ☉

"The Tragic Consequences of Strict Drug Policies: Remembering Lee Sun-kyun"Larry Michigan, starts off by wishing everyone a happy new year and reminiscing about the Grateful Dead's legendary New Year's Eve shows. He decides to feature songs from the Grateful Dead's New Year's Eve show in 1981 at the Oakland Coliseum. Larry describes the chaotic countdown and the band's energetic performance at midnight. He also pays tribute to John Cutler, a Grateful Dead sound technician and producer who recently passed away. Larry discusses the strict anti-drug policies in South Korea and the tragic death of Korean actor Lee Sun-kyun, who was subjected to relentless media scrutiny for his alleged marijuana use. He criticizes the punitive approach to drug abuse and emphasizes the need for rehabilitation rather than punishment. Larry also predicts that the University of Michigan's football team will win their game against the University of Alabama in the Rose Bowl based on his "Deadhead Cannabis System." The episode concludes with a discussion of the Grateful Dead's performance of "Dark Star" at the New Year's Eve show and the significance of the song's rarity.Timestamp Chapters:00:00:36 - Introduction and New Year's Eve celebration00:04:22 - Featuring songs from the Grateful Dead's New Year's Eve show of 198100:05:52 - Discussion on the song "Iko Iko" and the energy of a Dead New Year's Eve show00:33:48 - Tragic story of Korean actor Lee Sun-kyun and the strict anti-drug policies in South Korea00:38:00 - Predicting the winner of the Michigan vs. Alabama football game using the Deadhead Cannabis System00:42:00 - The encore set featuring Dark Star and other songsNote: The timestamps are approximate and may vary slightly when listening to the actual podcast episode.  Grateful DeadDecember 31, 1981Oakland ColiseumGrateful Dead Live at Oakland Auditorium on 1981-12-31 : Free Borrow & Streaming : Internet Archive *With Joan Baez **With Matt Kelly ***With John Cipollina. Bill Graham flies in on a joint - also: NRPS - only "Banks Of The Ohio" - final "Bobby McGee" - final "Bye Bye Love" - final "Children Of The 80s" - last "Dark Star": 01-20-79 [232] - final "Lucifer's Eyes" INTRO:                    NYE Countdown                                Track No. 20                                6:35 – 7:35  SHOW No. 1:          Iko Iko                                Track No. 21                                :26 – 2:00 SHOW No. 2:          The Boxer   (with Joan Baez)                                Track No. 3                                0:00 – 1:35 SHOW No. 3:          Bye Bye Love   (with Joan Baez)                                Track No. 6                                0:00 – 1:14 SHOW No. 4:          Dark Star                                Track No. 31                                4:20 – 6:00  OUTRO:                  It's All Over Now Baby Blue                                Track No. 34                                1:41 – 3:45 Talk about the dead show/NYE shows in generalKorean Actor who committed suicide because he was being investigated for MJ useDead U. at Stanford with David GansRIP John CutlerAnd more .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Currently Natalie is working at Players Circle Theatre doing a Christmas Concert/Cabaret called Ho! Ho! Ho! The Christmas Show. It is a one act, 90 minute performance full of some of the greatest Christmas and Holiday songs of all times! From Silent Night to Feliz Navidad and even a special visit from Elvis, it's a great way to spend your time enjoying the season and doing something festive if you are going to be in Fort Myers anytime during the month of December. The show runs from now until December 23rd, 2023. The theatre is located off of McGregor Blvd, and you can go to playerscircletheater.com for tickets and information. This is the last show she is in with them for a little while, but you can check out the rest of their season on the website or on FB/Instagram!Next she will be performing in one of the hottest jukebox musicals that is currently out there - Beehive! According to Theatrical Rights Worldwide: "BEEHIVE celebrates the powerful female voices of the 1960's with such timeless hits as “My Boyfriend's Back,” “Be My Baby,” “Son of a Preacher Man,” and “Me and Bobby McGee.” Told from the perspective of six young women who come of age in this enigmatic decade, BEEHIVE takes us from their first Beehive Dance to the challenges we faced as a nation." This show will be held at Florida Repertory Theatre, in downtown Fort Myers, FL. You can access information and tickets at floridarep.org, and it runs from January 9th-28th, with a possible extension to the 31st.Right after Beehive, Natalie will be jumping into rehearsals for Beautiful: The Carole King Musical at The Broadway Palm Dinner Theatre, also in Fort Myers, FL. This theatre does a lot of big musicals, so definitely check out their website to see what other exciting shows you'd be interested in seeing this next year! Broadwaypalm.com. And the food there is quite delicious, as it is a dinner theatre after all. She will be playing Betty and other ensemble roles, while understudying the Carole King role. The show runs from February 23rd-April 4th. Go check out your local theatre scene, whether you're in Fort Myers or elsewhere!

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

We are kicking off Halloween month with a spooky tune that continues in Luke Ski's tradition of doing song parodies performed as an impersonation of a character from something in pop-culture. This time around he is portraying Scratch the ghost from the hilarious Disney Channel (and Disney+) animated TV series "The Ghost And Molly McGee", to the tune of Janis Joplin's version of "Me and Bobby McGee". It's worth noting that Luke was inspired to write and record a demo this song back in April when he was asked to be a guest on Chandler Desrochers' Disney TV Animation themed podcast, "The Podcast Without A Cool Acronym", when his special guests were the creators of "The Ghost And Molly McGee", Bill Motz and Bob Roth, to talk about the Season 1 finale. They both got a kick out of the song, and Luke made plans to release a proper finished studio version of it, so here it is, just in time for all the grim grinning ghosts to come out and socialize. Chandler also made an excellent MUSIC VIDEO for the song using clips from the show which can be seen on YouTube. Music, spooky sounds, and final mix by Steve Goodie

Music behind DJ: Joe Maphis - "Moonshot" [0:00:00] Marty Robbins - "Cigarettes and Coffee Blues" [0:04:49] Cowboy Copas - "The Hem Of His Garment" [0:07:22] Johnny Cash - "Busted" [0:10:09] Jack Reeves & The Lonesome Cowboys - "Memory of Mary" [0:12:17] Margie Singleton and Faron Young - "Keeping Up With The Joneses" [0:16:05] Elvis Presley - "Black Star" [0:18:03] Music behind DJ: Joe Maphis - "Short Recess" [0:20:23] Ray Sharpe - "Linda Lu" [0:24:20] The Collins Kids - "Party" [0:25:43] Sanford Clark - "The Fool" [0:27:44] Ray Burden - "Sweet Lou From Lou" [0:30:35] Larry Butler - "Walked Out" [0:32:45] Music behind DJ: Joe Maphis - "Moonshot" [0:35:02] Henson Cargill - "Me and Bobby McGee" [0:37:59] Charlie Rich - "Hawg Jaw" [0:40:36] Don Carter - "Trying To Quit" [0:43:09] Shirley Adams - "The Two Of Us" [0:44:37] Connie Saul - "He's My Bag" [0:48:05] Music behind DJ: Joe Maphis - "Short Recess" [0:50:26] Don Rollins - "As Fast As I Can Crawl" [0:52:38] Gene Smith - "I'm Gone" [0:54:56] Marvin Rainwater - "Talk To Me" [0:58:02] https://www.wfmu.org/playlists/shows/130854

  Support the show at https://www.patreon.com/user?u=26936856 "The Greg Bennett Show"   Bobby McGee is one of the worlds greatest running coaches and has been involved in endurance coaching for 32 years. He is a 5 x Olympic coach, and has been involved in some form with 9 Olympic medalists. Bobby has spent many years coaching elite athletes and individual amateurs of all levels, guiding them to achieve their goals. Bobby says, there are three very important aspects of endurance training; Firstly, address your running mechanics. Teach yourself to run effectively and to avoid injuries in order to race at your optimum level. Secondly, look at how you train. What is it about your training that's holding you back? Is there a way that you can train better? Lastly, address the mental blocks that hold you back. How can you unleash the power of your mind to get you to race effectively? In this episode, Bobby and Greg discuss The Pendola Project. Here is a link to more information where you can even sign up to one of thee 12 week RunForm. Whether you are training for an Olympic Gold or a local 5k you can run happier and faster. The Relative Run Readiness packages will give you the strength and proper movement patterns to run with good form for longer.   Timestamps 1:53 - Interview starts 5:05 - About Bobby McGee. Bobby was born in South Africa and went to University basically to study to become a coach, He started by coaching middle and long distance track runners and went on to coach road runners and marathoners. Bobby moved to Boulder in the US in 1992 , and started coaching triathletes. 8:23 - Bobby currently coaches Victoria Lopez, Taylor Knibb, Flora Duffy, Kirsten Kasper along with other pro and amatuer athletes. 10:21 - When coaching elite triathletes, it's important to consider the athletes biomechanics. For instance long distance swimmers often have low bone density and therefore do not perform as strong runners due to the rigors of long distance running, so as a coach it's important to understand and set training expectations specifically for each individual. Bobby's book: Magical Running - A Unique path to running fulfillment 15:59 - Bobby's fascination of the bio mechanics of running came about as he could see a connection between certain running motion patterns and the tendency of getting injured. I use to say: I don't teach people how to run, I help people get back to the best running that they are capable of. Good running form looks very differently depending on the individual's genetics, one has to have a very different approach to someone with for instance long torso and short legs compared to someone with a more natural body composition for running. Also, factors like running background (has the athlete practiced plenty of speed work or come from an endurance background?) matters in how Bobby approaches individuals running technique. 20:06 - Rewinding the clock. Bobby describes his youth and pathway through younger years to discover his passion for running, and then coaching, including serving time in the South African Military. 37:54 - Shifting to mindset and performance, Bobby describes the advice he would give an athlete struggling with confidence. Being aware and knowing how your thoughts affect you is crucial in order to perform. Bobby feels that there is no right or wrong way to prepare mentally for competition, some people are super calm before races and perform well and others are extremely nervous and also perform well. Many age groupers (especially males) tend to overestimate their performance and hence set themselves up for failure by not being able to rise to their expectations. Don't doubt yourself, "The only thing you should doubt, is the doubt". The only thing you should doubt, is the doubt. 41:53 - When it comes to an athlete feeling failure, Bobby explains his techniques that he applies to his athletes. Bobby's golden rule - There is what happened ... then there is 'what are you making it mean to you'. Meaning and interpretation affect an athlete's mindset. 48:23 - Different type of run drills are great in order to achieve a change in running style. The purpose of drills are basically to exaggerate a specific movement. Drills play three different roles: First, you're trying to address a mechanical anomaly that the athlete has gotten into, the second reason is to do it as an activation exercise and the last role is for muscle endurance or power purposes. One also needs to make sure that the athlete has the strength, mobility and balance to run in a specific way. When approaching your running technique, one must be rather careful, this is an area where the wrong tips can get the opposite effect on your performance. 57:27 - First two laws of mechanics. The first rule is to never trust what you feel, you think you run a certain way but when you look into the mirror it rarely looks like what you first thought. The second rule is that if you want to achieve a change, you need to exaggerate the movement (this is also very applicable to swimming). 1:04:26 - The Run Transformation Course is a membership-based training program put together by Bobby McGee and is available at his website. Members have access to Bobby McGee's proven training strategies and a wealth of other resources. The program currently provides nearly 10 hours of running training including over four hours of video on running drills, two and one half hours of video on biomechanics, a 75 minute mental skills assessment and two hours of running sports essentials material. 1:06:16 - Interview concludes.

Matt Pendola is a strength coach who has worked and is working with world-class triathletes such as Flora Duffy, Gwen Jorgensen, Ben Kanute and Kevin McDowell. In addition to strength training, he is also heavily involved in coaching and teaching running form, often in collaboration with Bobby McGee.         IN THIS EPISODE YOU'LL LEARN ABOUT: -Assessing and improving mobility -Basic strength training principles -Periodisation and progression of strength training -Using tests to determine strength training focus areas -The importance of focusing on breathing when doing strength training- -Common strength training mistakes to avoid -Specific recommendations for busy amateur athletes   SHOWNOTES: https://scientifictriathlon.com/tts387/   SCIENTIFIC TRIATHLON AND THAT TRIATHLON SHOW WEBPAGE: www.scientifictriathlon.com/podcast/   SPONSORS: FORM Smart Swim Goggles give you unprecedented real-time feedback in your swim training through a display on the goggle lens. See every split to stay on pace, track your stroke rate and don't let it drop, use heart rate to become more scientific and precise with your training (through integration with Polar HR monitors) and analyse more in-depth metrics post-swim in the app. You can also use a vast library of workouts or training plans, or build your own guided workouts. Get 15% off the goggles with the code TTS15 on formswim.com/tts.    ZEN8 - The ZEN8 Indoor Swim Trainer is a unique Dryland Swim Trainer that allows you to improve technique, power, and swim training consistency. With the trainer you can do specific power and technique work, including working on your catch and core activation, and it helps you stay consistent even if you don't have much time to train. Get the special Zen8 x TTS bundle including the Swim Trainer and a number of ZEN8 training plans and on-demand workouts on zen8swimtrainer.com/tts.   LINKS AND RESOURCES: Matt's website, Instagram and AnyQuestion profile RunFORM podcast (with Matt Pendola and Bobby McGee) RUNFORM program. Get 10% off and FREE access to the additional Triathlon In-Season Strength Anywhere program with the code THATTRIATHLONSHOW10. The first 5 to purchase RUNFORM or a yearly R3 membership get a free Zoom consultation with Matt.  Movement Improvement (free assessment) Multisport Mobility Bootcamp - Free 4-week bootcamp by Matt for Triathlete Magazine Jim Vance | EP#382 Strength coach Erin Carson | EP#367 Mobility, Stability, and Strength with Erin Carson | EP#137 Running form and training talk with Bobby McGee (USA Triathlon) | EP#225 Practical application of sports psychology for triathletes with Dr. JoAnn Dahlkoetter | EP#108 Magical Running : A Unique Path to Running Fulfillment - book by Bobby McGee Your Performing Edge: The Complete Mind-Body Guide for Excellence in Sports, Health, and Life - book by Dr. JoAnn Dahlkoetter   RATE AND REVIEW: If you enjoy the show, please help me out by subscribing, rating and reviewing: www.scientifictriathlon.com/rate/   CONTACT: Want to send feedback, questions or just chat? Email me at mikael@scientifictriathlon.com or connect on Instagram, Facebook, or Twitter.