Podcasts about Cheap Thrills

(S4-Ep16) Big Brother and Holding Company (Mainstream) Release August 23, 1967, and Recorded December 12-14, 1967 Big Brother and the Holding Company's debut album is a fascinating glimpse into the early rise of Janis Joplin as a powerhouse vocalist. Although the album initially received mixed reviews due to its cleaner, more restrained production than the band's psychedelic live performances, it remains an essential piece of the 1960s San Francisco music scene albums. Joplin's unique voice stands out, adding depth and emotion to tracks like “Down on Me” and “Women Is Losers,” though the album doesn't fully capture the wild energy of their live shows. Standout moments include “Intruder” and the experimental “All Is Loneliness,” showcasing the band's bluesy, psychedelic influences. Despite its lackluster commercial reception, the album helped establish Big Brother as a key figure in the psychedelic movement and introduced Joplin's legendary vocal talent. While it's not as polished as their next release, Cheap Thrills (1968), The album holds significant historical value, paving the way for their future success and marking the beginning of Joplin's short but remarkable career.Signature Tracks “Bye, Bye Baby,"  "Call on Me,"  "All Is Loneliness"Full Albums:  YouTube, Spotify Playlist:  YouTube,  Spotify

Graham Coath talks to a young musician from Liverpool who started playing guitar at about 7 and is now developing into a well known singer songwriter on the local scene. Harry Fazakerley is quickly making his mark on the music scene. 16 year old Harry started writing music mid 2024 and his debut single 'Patience' saw over 13K streams in its first month of release along with 7K monthly listeners. The song featured as 'Track Of The Day' on This Is The Music and North West Connections. Already a popular artist in the Merseyside area, Harry recently secured Jamie Webster's old acoustic slot at the Liverpool pub The Halfway House - the first artist to take this on long term since Jamie left to go on to new heights several years ago. Harry is now tipped to follow in Jamie's footsteps. A duet with the Cheap Thrills singer Lewis Pike was the highlight of a recent charity show. Harry is working closely with Liverpool Football Club and is playing to a 2K plus crowd at the end of the football season as well as providing regular entertainment for the club's corporate events. His anticipated new single 'I Want To Go Home' is released mid March. 2025 will see Harry continue to perform at top Liverpool venues and branch out to playing gigs in Manchester and further afield. The future is bright for this young artist who is already much in demand by music venues and promoters across the North West.

Mitchell & The Dubs Cartel - Smoke Signals & Cheap Thrills Woke up in a lawn chair, sand in my jeans, Last thing I remember, I was chasin' a dream. Bottle in my left hand, spliff in my right, Pretty little thing said she'd stay for the night— But she gone... like my last twenty bucks, Now I'm skippin' town, guess I ran outta luck. Ohhh, I hear the sirens singin' my name, Ohhh, but I never play that game… Smoke signals, cheap thrills, runnin' from the law, One step ahead, but I'm bound to fall. No money, no plan, just a song in my head, Live fast, love loud, wake up half-dead. Met a rasta man said, “Boy, you look lost,” Told me ‘bout Jah, then he stole my sauce. Bought a ticket south, but the train broke down, So I'm thumbin' rides with a dog and a clown. Got a tattoo from a dude in a van, Spelled it wrong but—man, I'm a fan! Ohhh, I hear the waves call my name… Ohhh, but they never sound the same… Smoke signals, cheap thrills, runnin' from the law, One step ahead, but I'm bound to fall. No money, no plan, just a song in my head, Live fast, love loud, wake up half-dead. They say “slow down”—I say “why?” The reaper got a ticket but he waitin' in line… Roll me up, let me float like a kite, I'll be back when the stars burn bright… Yeahhh… cheap thrills… Oooohhh… no regrets, no refills…

FULL SHOW: Ex MAFS Producer Exclusive, Team Audit, Cheap Thrills + MORESee omnystudio.com/listener for privacy information.

Plongez dans les coulisses de "Shape of You", le hit mondial d'Ed Sheeran.

Découvrez l'histoire captivante de "Cheap Thrills", l'un des plus grands tubes de Sia. Initialement écrit pour Rihanna, le titre a été décliné et repris par Sia pour un album spécial regroupant ses chansons refusées par d'autres artistes. Avec son style unique, elle transforme ce morceau léger sur une soirée festive en un succès mondial. Ce choix audacieux confirme son incroyable talent de compositrice et son parcours singulier sur la scène musicale.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

It had been days since I'd written anything, really. I was technically ahead of schedule— of course, That was, technically— and besides the delay of one single, I was on some sort of roll—the day-by-day releasing of my fast tracked work seemed to be doing some sort of offset to the algorithm; I knew this was something not everyone was doing, or anyone, really, that I knew of—and in this way, it was rather strategic. Besides, anyway, the obvious— my subscription for distribution was ending, and although it had been a voluminous year as far as music catalogues were concerned, some of my best work surfacing actually after I_NY, which itself had created a surge of followers on what seemed like a freak occurrence of one song—the final track, for whatever reason— being streamed just under a thousand times without it having been showcased or promoted in any way— ; and that was just it— it was, or at least, did seem random, anyway, on the off chance. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT, INC. circa 2018- 2024 | ALL RIGHTS RESERVED. © -Ū.

It had been days since I'd written anything, really. I was technically ahead of schedule— of course, That was, technically— and besides the delay of one single, I was on some sort of roll—the day-by-day releasing of my fast tracked work seemed to be doing some sort of offset to the algorithm; I knew this was something not everyone was doing, or anyone, really, that I knew of—and in this way, it was rather strategic. Besides, anyway, the obvious— my subscription for distribution was ending, and although it had been a voluminous year as far as music catalogues were concerned, some of my best work surfacing actually after I_NY, which itself had created a surge of followers on what seemed like a freak occurrence of one song—the final track, for whatever reason— being streamed just under a thousand times without it having been showcased or promoted in any way— ; and that was just it— it was, or at least, did seem random, anyway, on the off chance. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT, INC. circa 2018- 2024 | ALL RIGHTS RESERVED. © -Ū.

It had been days since I'd written anything, really. I was technically ahead of schedule— of course, That was, technically— and besides the delay of one single, I was on some sort of roll—the day-by-day releasing of my fast tracked work seemed to be doing some sort of offset to the algorithm; I knew this was something not everyone was doing, or anyone, really, that I knew of—and in this way, it was rather strategic. Besides, anyway, the obvious— my subscription for distribution was ending, and although it had been a voluminous year as far as music catalogues were concerned, some of my best work surfacing actually after I_NY, which itself had created a surge of followers on what seemed like a freak occurrence of one song—the final track, for whatever reason— being streamed just under a thousand times without it having been showcased or promoted in any way— ; and that was just it— it was, or at least, did seem random, anyway, on the off chance. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT, INC. circa 2018- 2024 | ALL RIGHTS RESERVED. © -Ū.

The guys are back to discuss their thoughts on Holliwood nights and share their Top 25 Coasters. Josh from Cheap Thrills joins the show to discuss his European Trip, and Andrew from Coaster 101 joins to rank fast food breakfast. Check out Josh at: https://linktr.ee/Cheapthusiast Andrew at: https://www.coaster101.com/ Chat with the Cuzzies on Discord: https://discord.gg/abTDb3eVav Support the show on Patreon at: https://www.patreon.com/c/user?u=38631549 Find us everywhere else on: https://solo.to/coastercuzzies --- Support this podcast: https://podcasters.spotify.com/pod/show/coastercuzzies/support

A scheming couple put a struggling family man and his old friend through a series of increasingly twisted dares over the course of one night. On this week's episode… Join the crew as we discuss what we would do for a dollar, how badass Pat Healy is, and the twisted comedic brilliance of, Cheap Thrills (2013).   Show Notes: Housekeeping (5:45) Back of the Box/Recommendations (10:25) Spoiler Warning/Full Review: (15:20) Rotten Tomatoes (55:25) Trivia (64:42) Cooter of the Week (69:00) What We've Been Watching (75:20) Hotline Scream: (88:45)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

Religious horror always finds a way to hit deep with T, and after a quiet theatrical run, he's here to take a look at a sleeper hit about life after the rapture from the minds that brought you Cheap Thrills, The Guest, and Blair Witch Azrael Years after the apocalypse, a devout cult of mute zealots hunts down Azrael, a young woman who escaped her own imprisonment

2GG Podcast: Family Cheap Thrills as a Kid PART 3 by Two Girls and a Guy

2GG Podcast: Family Cheap Thrills as a Kid PART 2 by Two Girls and a Guy

2GG Podcast: Family Cheap Thrills as a Kid PART 1 by Two Girls and a Guy

Bombers / Mayor visit and cycling conflict (1:40); Clay got to fly in a stunt plane, and he was wobbly. What's a thrill that almost broke you? Good or bad? (9:20); CYCLING PROTESTS - protest at Wellington Cres and Academy a couple days ago after a 13 year old cyclist was struck there on Monday (16:40); Thrills that almost broke you - Brett got to fly in a CF-18 and the Gs made him feel like he was going to explode (25:30); Mayor Monthly Visit - Cycling, homelessness, housing starts, all outdoor pools free this weekend, and throwing out the first pitch on Friday! (27:50); Pedal Pub Winnipeg gets their license to serve alcohol during their pub crawls (39:50); Winning story on thrills that almost broke you (47:55).

Get ready to roar with laughter as Brandon Cormell tackles dating disasters and domestic dilemmas! From high-end escapades to hair-raising discoveries, expect the unexpected. Cringed at his church tales? Brace for his heavenly humor on sinners! Catch the full comedy riot at foqnfunny.com. Love what you're hearing on FOQN Funny? Go a step further and become a member of FOQN Funny+. Enjoy exclusive perks and never-ending laughter. Join now at: https://plus.acast.com/s/foqn-funny. Hosted on Acast. See acast.com/privacy for more information.

This piece critiques the pervasive sexualization in modern society. Exploring how women's bodies are often objectified and commodified, leading to a loss of personal value and dignity. This contrasts the superficial allure of provocative behavior with the deeper, intrinsic worth of respect and honor. It calls for a return to valuing women for their true selves, advocating for a culture that fosters genuine respect and meaningful connections rather than hollow, fleeting thrills.

In this episode Truth talks with Walter Gemeinhardt – a NJ based motorcycle builder / fabricator / mechanic –  and founder/owner of Kickstart Cycle Supply, the Cheap Thrills motorcycle show, and the Gypsy Run.   The two discuss the motorcycle industry, custom bikes, Walter's past as a roadie (for Anthrax, Bon Jovie, etc), The Bikeriders movie, the revival and expansion of the Cheap Thrills show, Gypsy Run , and more!  For more info: Web: http://www.kickstartcycle.com IG: @kickstartcycle @cheapthrillsnj @gypsy_run   As always, please hit the subscribe button if you like and support what we do! You'll get early access to new episodes! Also please leave a review!  Follow us on IG: @bigtruth TikTok: @bigtruthpodcast YouTube: @thebigtruthpodcast   For feedback, questions, sponsorship info contact: bigtruthpodcast@gmail.com For more info: http://www.bigtruthpodcast.com To support the show: http://www.patreon.com/bigtruth   The Big Truth Podcast is proudly sponsored by: - Choppahead Kustom Cycles (IG: @choppahead / www.choppahead.com) - Jeffrey Glassman Injury Lawyers (Massachusetts motorcycle injuries – http://www.jeffreysglassman.com /  or call 617-777-7777) - Tattoo Flash Collective – www.tattooflashcollective.com – use promo code: BIGTRUTH for 10% off your order - Omerta (IG: @omertamia / www.omertamia.com) - use code: BIGTRUTH at checkout for 20% off your order! - Heavy (IG: @heavyclothing / www.heavy.bigcartel.com)

Nintendo switch direct impressions, Kendrick Lamar Pop up tour, Justin Timberlake arrested, and more. --- Support this podcast: https://podcasters.spotify.com/pod/show/angelinalisa1/support

Big Brothers & Holding Company & Janis Joplin - Cheap ThrillsПодкаст про второй студийный альбом группы Big Brother & the Holding Company, выпущенный 12 августе 1968 года. «Cheap Thrills» достиг большого успеха: к октябрю он занял первое место в чарте Billboard и оказался самым продаваемым альбомом 1968 года, с тиражом чуть менее миллиона копий.   Подкаст категории «18+» Приятного прослушивания и ставьте оценки! Если подписаться на подкаст и сделать репост выпуска, то «Combination of the Two» чувств поможет прийти к мысли «I Need a Man to Love», а потом каждый раз во время ссоры с ним говорить про «Piece of My Heart» в момент пока напеваешь «Turtle Blues».  Ссылки для прослушивания:Apple Podcast:https://podcasts.apple.com/ru/podcast/mousepodcast/id1648443353?i=1000655960953Яндекс музыка:https://music.yandex.ru/album/23340474/track/126132127Звук:https://zvuk.com/episode/137846456Mave:https://mousepodcast.mave.digital/ep-92Слушать в ВК:https://vk.com/podcast-216420089_456239103Наш Telegram:https://t.me/mousepodcastГруппа в VK:https://vk.com/public216420089

April 22, 2024 | Wrapping up the mini sermon series "Cheap Thrills", Daniel Harris teaches out of 2 Corinthians 5:14-21 about being a new creation in Christ. As believers, we have the love and peace of God within us and therefore should not have a worldly mindset, but a God-focused mindset. When we ask for repentance, God reconciles and restores us through His Son, Jesus.For more information about The Vue, visit www.bellevue.org/college.  If you've liked what you've heard in this message, please leave a review on Apple Podcasts and follow us on Spotify.

Nickson needs to chill out with the walks in the parkSee omnystudio.com/listener for privacy information.

April 15, 2024 | Teaching out of Luke 4:1-13, Dakota Tucker walks through the temptations that Satan presented to Jesus in the desert. Satan tempted Jesus' flesh, spirit, and power, but Jesus remained faithful in God's purpose. Do we remain faithful to God's plan for our lives? Or do we take matters into our own hands and fall into temptations that will lead us astray?For more information about The Vue, visit www.bellevue.org/college.  If you've liked what you've heard in this message, please leave a review on Apple Podcasts and follow us on Spotify.

April 8, 2024 | Daniel Harris starts a new series called "Cheap Thrills", where he talks about the harder aspects of the Christian walk. For week one, Daniel walks through how God can help us overcome temptation in our lives. Satan tempts us with things that seem to be good on the outside, but in reality are bad for us. We need to lean on God through the trials and temptations because God never fails us.For more information about The Vue, visit www.bellevue.org/college.  If you've liked what you've heard in this message, please leave a review on Apple Podcasts and follow us on Spotify.

Its a real WBW? as Yer Boys discuss everything from the joys of watching with a live crowd, to the best of cheap cinema, to everything we've seen lately.PLUS: Good Will Hunting, Transformers: The Movie, Romeo + Juliet, Leaving Las Vegas and MORE!

Thanks to this movie we finally have a going rate for breaking into your neighbor's house and dropping a deuce on the floor.

Dive into the FOQN Funny podcast's latest laugh riot with Chad Thornsberry! Ever wondered about the awkwardness of 'pay it forward' at drive-thrus or the truth behind valet parking a junk car? Chad's got answers that will leave you in stitches! Tune in now for an uproarious journey through small-town life, absurd healthcare experiences, and life's ironic twists. Ready for a gut-busting adventure? Click play and join us at FOQN Funny for your comedy fix!

We Return from a quick Thanksgiving break with a couple of Dark Comedy Thrillers from 2013. One from the states and one outside the states. Both Pretty Dark and Both Pretty Funny. We talk about what we did this past break, what delicious goodies we ate, what we will be doing for the TOP 20 Horror Movies of 2023, Alex give Christina a bunch of crap for not taking shots properly. Then we jump into our review of CHEAP THRILLS (2013) about a few old friends that meet up at a bar coincidently after one of them lost their job and is getting evicted. They meet a couple willing to give them money for doing dares. These dares get worse and worse but so does the money till the bitter violent end. Then we jump into BIG BAD WOLVES (2013) about a 2 cops who bump into each other after both are trying to kidnap a suspect who's accused of some pretty heinous crimes against kids. They want to make him confess to his crimes but things get all kinds of messed up in this dark twisted comedy. All this week! JOIN US! Episode Link ► https://www.longlivethevoid.com/episodes/ep354 LinkTree ► https://linktr.ee/btvcast Time Stamps HORRORSHOTS - 12:12 Cheap Thrills (2013) Spoiler Free Review - 15:32 Cheap Thrills - Trivia & Spoilers Discussion - 30:14 Big Bad Wolves (2013) Spoiler Free Review - 54:54 Big Bad Wolves - Trivia & Spoilers - 1:08:07 End of Podcast Talk - 1:27:10 So grab your Blowtorch and be sure to grab your Meat Clever. Oh and please for the love of podcasts don't forget to bring your Dog as we travel Beyond The Void!

Cheap thrills are cheap to make, but their impact can last forever. Read more at: https://scottsself-indulgentmovieblog.blogspot.com/

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

CHEAP THRILLS: BMW's smallest bike in current production—the G 310—is a platform not to be overlooked for its fun factor. Send your questions to us via email - podcast@bmwmoa.org. The Ride Inside with Mark Barnes is brought to you by the BMW MOA Foundation and is on the web at BMWOwnersNews.com.    

Buckle your seatbelt, thrills and spills await! We love making inexpensive changes to get a big result. We're calling this cheap thrills! Here are a few of the tips shared today. Paint old furniture for a new fresh look Use unique objects for artwork Paint old wicker furniture or baskets a fun color for a change Use an oversized basket to store extra pillows in your room, then it becomes decor Buy digital artwork on Esty and print it yourself for inexpensive, personal artwork Display things in threes Change your shower curtain Replace your lampshades Rearrange your bookcase DTT DEFINES Cheval Mirror LISTENER QUESTION Jackie writes, I know you've mentioned that it's no longer stylish to decorate the empty space between top of cabinets and ceiling but what can I do about that space? It's awkward and I don't like it looking cluttered but I think it should be utilized in some way. HIGHLIGHTED EPISODE Negative Space HERE We participate in the affiliate program with Amazon and other retailers. We may receive a small fee for qualified purchases at no extra cost to you. CRUSHES ANITA'S CRUSH Faux hydrangeas in dark blue from OKA HERE KELLY'S CRUSH the movie, Living HERE Need help with your home? We'd love to help! We do personalized consults, and we'll offer advice specific to your room that typically includes room layout ideas, suggestions for what the room needs, and how to pull the room together. We'll also help you to decide what isn't working for you. We work with any budget, large or small. Find out more HERE Hang out with us between episodes at our blogs, IG and Kelly's YouTube channels. Links are below to all those places to catch up on the other 6 days of the week! Kelly's IG HERE Kelly's YouTube HERE Kelly's blog HERE Anita's IG HERE Anita's blog HERE Are you subscribed to the podcast? Don't need to search for us each Wednesday let us come right to your device. Subscribe wherever you listen to your podcasts. Just hit the SUBSCRIBE button & we'll show up! XOXO, Kelly and Anita DI - 12:34 / 26:16 Learn more about your ad choices. Visit megaphone.fm/adchoices

Get a blessing by hearing the latest teaching from one of the services at Faith and Truth Assembly!

Nantikan Cheap Thrills di kaca TV anda! Instagram Thinker: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/thinker.studios/?hl=en ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch us on Youtube: ⁠⁠⁠⁠https://youtu.be/OymljwArtg0 Hear us on Syok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bm.syok.my/podcast/show/14181⁠⁠

Benny's guest run comes to an end as we review Cheap Thrills from 2013! Contact us @ StonedToDeathPodcast@gmail.com Follow us on instagram @stonedtodeathpodcast Caleb on Letterboxd @ Kempmiilkbone17 Brandon on Letterboxd @ Gorekeeper

Elliott Landy is a renowned rock photographer particularly covering the classic rock period of the 1960s. He's responsible for a number of iconic album cover photos including Bob Dylan's "Nashville Skyline", The Band's "Music From Big Pink", Janis Joplin's "Cheap Thrills", and Van Morrison's "Moondance". Plus he shot Jimi Hendrix, Jim Morrison, Joan Baez, Eric Clapton and many more. And then there are his iconic photographs of Woodstock. He's authored a number of books and won many awards.My featured song is “Annie And Leni” from my new album, Bobby M and the Paisley Parade. Spotify link.—--------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Elliott and I discuss the following:His start in photographySeeing Country Joe and the FishPhotographing Janis JoplinThe BandBob DylanVan MorrisonHis Kickstarter campaign. Click here “BOBBY M AND THE PAISLEY PARADE” is Robert's new album. Featuring 10 songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. Produced by Tony Carey. Called "ALBUM OF THE YEAR!" by Indie Shark and “One of the great rock sets of the year!” by Big Celebrity Buzz. "Catchy and engaging with great tunes!" - Steve Hackett (Genesis)"This album has life and soul!" - John Helliwell (Supertramp)"Bobby M rocks!" - Gary Puckett (Union Gap)"Nice cool bluesy album!" - Jim McCarty (The Yardbirds)"Robert really really really rocks!" - Peter Yarrow (Peter Paul & Mary)"Great songs. Great performances. It's a smash!" - David Libert (The Happenings)Click here for all streaming links. Download here.LIVE AT STEELSTACKS is the 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. “Captivating!” Elliott Randall (Steely Dan) “PGS burns down the house!” Tony Carey (Rainbow)“Full of life!” Alan Hewitt (The Moody Blues) “Virtuoso musicians!” (Melody Maker) “Such a great band!” (Hollywood Digest) The album can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.ALL OF THE TIME is Robert's recent single by his band Project Grand Slam. It's a playful, whimsical love song that's light and airy and exudes the happiness and joy of being in love. “Pure bliss…An intimate sound with abundant melodic riches!” Melody Maker/5 Stars) “Ecstasy…One of the best all-around bands working today!” (Pop Icon/5 Stars) “Excellence…A band in full command of their powers!” (Mob York City)Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.THE SHAKESPEARE CONCERT is the album by Robert's band, Project Grand Slam, recorded "live" in the studio. It's been praised by Mark Farner (Grand Funk Railroad), Jim Peterik (Ides Of March), Joey Dee (Peppermint Twist), Elliott Randall (Steely Dan) and Sarah Class (British composer). Reviews: “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. THE FALL OF WINTER is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.FOLLOW YOUR DREAM HANDBOOK is Robert's Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with Elliott at:www.elliottlandy.comwww.landyvision.comHttps://www.kickstarter.com/projects/thebandbook2/elliott-landys-the-band-photographs-book-volume-2?ref=project_link Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFacebook - www.facebook.com/followyourdreampodcastEmail Robert - robert@followyourdreampodcast.com Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comInstagramPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Episode 27 is here! The wheel has picked Big Brother and the Holding Company's 1968 album Cheap Thrills. Featuring none other than Janis Jopin. In a rare instance we get to do a whole album in one sitting!

Mass Movement Presents… Geek-O-Rama Episode 24: Fast Cars, Cheap Thrills – In which the sexier half of the middle aged crew reviewsGenis-Vell: Captain Marvel, The Punisher: The King of Killers, Fantastic Four: Life Story, Dune: The Official Movie Graphic Novel and Birdking Vol.1and spins a bunch of tunes from Suburban Annihilation: The California Hardcore Explosion. Tune in, turn it up and geek out. This one's a doozy…

Big Ten women's basketball tournament tickets are affordable, until you get to the fees…

The Dash with Matrilla podcast is all about uplifting, inspiring, mentoring, motivating & encouraging men and women to Never give up on their LIFE or their Dreams! But the core to the podcast is to Never give up on GOD! Learn to live your life to the fullest spiritually, mentally & physically....after all YOUR DASH IS YOUR LIFE STORY! What is your Dash currently saying about you? Her motto is Never Give up on your Life. Never Give up on your Dreams & Never Give on God. Her signature or tagline is "Smile It's Contagious!"

There is definitely nothing even close to a theme in the twenty films we're talking about this episode but there's some pleasant surprises, we still wonder who actually likes Count Yorga and there is one moment of pure hatred.Things are kicked off right with a DIE HARD clone that's pretty rad, we look at Steve McQueen's final film, Damien Chazelle brings the Hollywood excess in BABYLON, there's some giant animals on the loose, a Nazi zombie causes havoc, we look at how mental health was handled in the 1940's, another 70's TV movie doesn't live up to expectations, Maxwell Smart gets "nude" and so much more!Thanks for listening! Be sure to subscribe, rate and review the show wherever you listen to podcasts; join in the discussion on our Facebook group, and if you like what you hear - tell a friend and spread the word - every little bit helps!Links to all our web stuff at www.gbwpodcast.com

We all have stories. It's just that Pat Healy's are better than yours. If you're Gabe, you know Pat from his directorial debut “Take Me” (now streaming on Netflix!)— but if you're like the rest of us, you know Pat from fucking EVERYTHING! “Ghost World”, “Magnolia”, “Cheap Thrills”, “Compliance”, “The Post”, “The Assassination Of Jesse James By The Coward Robert Ford” — fucking “Better Call Saul”! He also hung out at Steppenwolf with Michael Shannon, Terry Kinney, and goddamned STEVE MARTIN!!! So just kick back, shut up, and listen to Pat tell you about the time he cried in Steven Spielberg's office. You're welcome.

The Anfield Wrap's live podcast discussing the Ajax win, the upcoming international break and Liverpool's season so far. John Gibbons hosts Phil Blundell, Adam Smith and Paul Johnson, plus The Cheap Thrills on their song 'Codependence' being used for Liverpool's European kit launch, and Ciaran Moran on his new EP and upcoming tour...

David joins Carey, Brooke & Kerbs in studio to talk about bringing the "laughies", Brooke taking her shot at real comedy or just trying for once, his favorite character and movie he's gotten to take part in, "Cheap Thrills" being the best underrated movie he's been in, his fandom of Monty Python, running a trivia in the character of Todd Packer, growing up working at 7 years old, transitioning into acting & comedy, breaking the expectations of the audience & a Cardinals walk-off win broadcasted by Champ Kind.

This week Bruce interviewed Abbi Jacobson and Chanté Adams about "A League of Their Own," the new Amazon Prime show that takes its source material step or two further. We catch up with our feelings on Bullet Train, Prey, and "Sandman," as well as offer up preview Netflix's upcoming 13: The Musical. In honor of the new horror movie Bodies Bodies Bodies premiering in theaters we've got a list of movies that incorporate some high stakes games. Down below we've got links to all the stuff we talk about and places you can connect with us and subscribe to the show!! Where to watch: Bodies Bodies Bodies (Aug. 12) "I Am Groot" (Aug. 10, Disney+) "A League of Their Own" (Aug. 12, Amazon Prime) 13: The Musical (Aug. 12, Netflix) Bullet Train (theaters) Prey (HULU) High Stakes Games! The Last of Sheila (1973) Marathon Man (1976) The Deer Hunter (1978) Funny Games (1997) The Game (1997) Battle Royale (2000) 13 Tzameti (2005) Cheap Thrills (2013) Game Night (2018) Ready or Not (2019) Promising Young Woman (2020) Recent articles by Bruce Miller: 'Dr. Strange' serves as preview of coming attractions 'Reservation Dogs' returns with more heart, tears Despite all the saccharine, 'Mrs. Harris' offers smiles Is there crying in baseball? Kelly McCormack explains Amazon's new 'League of Their Own' tells more female baseball stories Eye-popping 'Pam & Tommy' delves into that chaotic world of celebrity Recent episodes of On Iowa Politics co-hosted by Jared: Federal abortion ban, Reynolds red flags, Scholten joins Team Franken Iowa Polls, Contraception & Marriage Equality, and Red Flags Kim Reynolds Court, Republican endorses Democrats, and a close AG campaign Ernst's Vet Vote, Iowa First-in-Nation Status, and Abortion in Kansas ALSO: "Cat Person" by Kristen Roupenian (The New Yorker, Dec. 4, 2017) Follow the show: Twitter: https://twitter.com/StreamdNScreend Instagram: https://www.instagram.com/streamedandscreened Facebook: https://www.facebook.com/StreamedAndScreened Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, an entertainment reporter for multiple decades who is now the editor of the Sioux City Journal, Jared McNett, a reporter for the Sioux City Journal, and Chris Lay, the podcast operations manager for Lee Enterprises.See omnystudio.com/listener for privacy information.

Do you remember that song Cheap Thrills by Sia? This week, let's look at when we feel those cheap thrills when it comes to hearing about our exes. You may remember from last week's episode that I was recently triggered when I heard about a recent success he had. And in that episode, we talked about how we process those moments of good that may happen to our exes and what we're making it mean about us. This week, let's turn it around. Just a few days ago I heard from a friend about that same ex, from my rock-bottom heartbreak, and hearing about a time when he felt jealous of me and a success I had. I'll be honest, it brought me a little thrill of joy. In this episode, I share with you why I let myself enjoy this little thrill, how to know it's ok to feel this thrill, and identifying when it doesn't serve you. If you are struggling with these cheap thrills or not sure if it's ok to feel what you are feeling in regards to your ex, I want to invite you to invest in yourself, heal your heart, fall in love with you, and find someone better. Right now I'm offering my 60-video course on how to learn and use the tools to create these results for yourself. And if you really want to take your healing to the next level, I invite you to apply for my one-year group coaching program,  Stop Wanting Him Back and Find Someone Better. To learn more, or if you have any questions, go to my website https://clairetheheartbreakcoach.com/Topics In This EpisodeWhatever he has going on in his life has nothing to do with youYou get to be humanExamining why you get this little high. What is the meaning behind it?Identifying when there's more healing to do The value in going back and revisiting the basics Looking at the unfinished business in your thoughts Committing to loving youResourcesEpisode 161, When Mean Guys WinEpisode 5, My Heartbreak Story PLEASE NOTE: Claire refers to her exes and the listener's ex as a “he,” based on her own personal experience as a heterosexual female, but this work can be applied to ANYONE going through heartbreak. ALL genders and sexual orientations are encouraged to listen and apply Claire's tools into their own lives!Editing and show notes by Roth Media

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This week's guest is award winning filmmaker, composer, and entrepreneur Gabe Cowan. Gabe has produced over 20 films, many of which have premiered at the major festivals. Some of his films include SXSW Audience Award winner "Cheap Thrills" as well as "Bad Milo" and "They Call Us Monsters." Before producing movies, Gabe was a multiplatinum recording artist, played in several bands and was signed to Geffen Records. His current focus is as the CEO of Audio Design Desk, where he is working to solve audio for video by creating a streamlined solution to quickly and easily match music and effects with picture in a manner that sparks creativity. We chat about making movies, democratizing cinema quality audio, the challenges of creating a DAW from scratch. In this episode we'll dig in on... How Audio Design Desk revolutionizes audio for picture Creating a DAW that inspires you Signing to Geffen Records in the mid 90s at age 19 How to pitch your ideas AI as a musical assistant Creating a product roadmap Music as a part of a filmmakers identity Major label life vs independent life Encountering people that prioritize money over art The allure of Hollywood How scoring a Roger Corman film lead to producing movies Shooting the first independent film done on a RED Camera Meeting consumer expectations Cue sheets The musical gymnastics of the 80s and early 90s Travis' Intro: Enjoy the Journey Learn More About Gabe Cowan and Audio Design Desk... Website: https://add.app/ (https://add.app/) Instagram: https://www.instagram.com/audio.design.desk/ (https://www.instagram.com/audio.design.desk/) Facebook: https://www.facebook.com/audiodesigndesk (https://www.facebook.com/audiodesigndesk) Our Sponsors: Sign Up for Complete Producer Network https://www.completeproducer.net/share/z_LJhc8M_GtKZ1OX?utm_source=manual (HERE)! Get on the Waitlist for The Beats Accelerator Process https://knowledge.completeproducer.pro/bapwaitlist (HERE)! Get on the Waitlist for The Mix Accelerator Process http://mixaccelerator.com/ (HERE)! Other Links: https://www.travisference.com/coffeecup (Give Me a Coffee Cup!) Support Progressions on https://www.patreon.com/progressionspod (Patreon)! Sign up for the https://mailchi.mp/87a95bbfe666/progressionspod (Progressions Mailing List) https://kit.co/travisference (Gear and Recommended Reading List) Instagram: https://www.instagram.com/progressionspod/ (https://www.instagram.com/progressionspod/) Facebook: https://www.facebook.com/ProgressionsPod/ (https://www.facebook.com/ProgressionsPod/) Twitter: https://twitter.com/progressionspod (https://twitter.com/progressionspod) Learn more about Travis: https://www.travisference.com/ (https://www.travisference.com/) Credits: Guest: Gabe Cowan Host: Travis Ference Editor: https://linktr.ee/djempirical (Stephen Boyd) Theme Music: inter.ference

Welcome back for episode 54 of the Food for Worms Podcast. ***sludgy bass riff*** This week we are joined by musician, friend and tundra rock national treasure, Chad Gross. We talk about the scene of the past, the now closed venues we came up in. We talk about growing up, growing out and moving on and watching the new kids do their thing, Chad shares with us his his music in the band Bongreaper, his Mr. Chainsaw's “Shetty Reviews” on Youtube and getting into therapy. You can catch Chad in the links below, and you can see Bongreaper at FCP Fest 2022 at Keller Bar on Feb 26th in Saint Cloud, MN. Mr. Chainsaw's “Shetty Reviews”: https://www.youtube.com/channel/UCtIiRS1o4KLy4DOkXVwYVig/featured Bongreaper Soundcloud: https://soundcloud.com/bongreaper666 Submit Anonymous Topic & Questions: https://bit.ly/FFWGRABBAG This episode of the Food For Worms Podcast is sponsored by BetterHelp. Use our referral link and get 10% off your first month of BetterHelp at: https://betterhelp.com/foodforworms #Sponsored Find us on Apple, Spotify, Google Podcasts, Stitcher or wherever you get your podcasts. You'll find us on most socials at: @foodforwormspodcast, @legendarien & @noshirt_noshoes_ Inquiries: foodforwormspodcast@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/food-for-worms-podcast/message Support this podcast: https://anchor.fm/food-for-worms-podcast/support