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2 episodes with Jackie Kay
2 episodes with Jackie Kay
2 episodes with Jackie Kay
The literary alchemist Jackie Kay, poet, author and playwright, whose words dance between the very personal and the universal - she wants us to Coorie Doon. We've scored a bullseye in getting darts referee and LGBT+ ambassador Huw Ware on the show...so…game on! Sir Peter Murray, the visionary sculptor of landscapes and minds alike reveals how he went from an educationalist to founder of the Yorkshire Sculpture Park. All that plus the Inheritance Tracks of Professor Alice Roberts are dug up.Presenters: Nikki Bedi and Huw Stephens Producer: Ben Mitchell
In this extended version of Nothing But The Poem Kevin Williamson interviews Donny O'Rourke, editor of Dream State - The New Scottish Poets which was published in 1994 and remains the gold standard of poetry anthologies, and, arguably, the most visionary poetry anthology ever published in Scotland. Dream State's contributors were all aged under 40 at the time and were assembled by fellow poet and broadcaster Donny O'Rourke. Only 6 of these poets - John Burnside, Carol Ann Duffy, Kathleen Jamie, Jackie Kay, W N Herbert and Robert Crawford had appeared in The New Poetry - Bloodaxe's high profile generational anthology - the year before. Donny O'Rourke had his finely tuned ear to the ground, and, as well as the 6 poets listed above, he brought together another 19 Scottish poets under the age of 40, all overlooked by the Bloodaxe anthology. These included Don Paterson, David Kinloch, Meg Bateman, Richard Price, Graham Fulton, Robert Alan Jamieson, Maud Sulter, Alan Riach, and a 28 yer old - and as yet bookless poet - Roddy Lumsden. Donny O'Rourke was no ordinary editor. He was a visionary with an agenda who not only hoped to achieve a "gathering of forces' but wanted an anthology with zero fillers and, crucially, for the anthology to be a vital energetic snapshot of all aspects of Scottish life at a time the country had entered a tumultuous phase in its history. Dream State's ambition was huge: poetry as "news that stays news" as Ezra Pound once wrote. Popular culture, street smart wit, political tensions, scientific discoveries and radical re-imaginings infuse every page. O'Rourke was no narrow nationalist, as is stated in the introduction, but drew upon Edwin Morgan as the anthology's outward looking internationalist and hyper curious guiding spirit. Dream State was egalitarian in its sense of purpose from the outset. From Alasdair Gray came the inclusive definition of Scots as anyone who lived in Scotland, or who was from Scotland and left. Dream State was relatively balanced gender-wise too (for the 1990s). 15 male poets and 10 female poets. The New Poetry, despite its vitality and excellence, on the other hand had just 17 women poets out of its 55 contributors. We also hear the words of many working class poets in Dream State, perhaps abandoned by much of the politics of the time, making their voices heard. In this podcast Donny O'Rourke sits down in the Scottish Poetry Library with Kevin Williamson (who was publishing and editing Rebel Inc magazine at the same time) to revisit the creative riot that was the early 1990s. They discuss Dream State and the time and place which gave birth to it. Dream State The New Scottish Books was published by Polygon.
The tenor Russell Watson's remarkable career took him from playing from working mens clubs in Salford to performing at the Vatican. But his life hasn't been completely charmed - he discusses the brain tumour that threatened his life as well as his voice and how he found his way back to centre stage.Jackie Kay is one of the UK's most lauded poets who turned to writing as a child as a sanctuary from the difficulties of life as an adopted, if much loved, half-Nigerian child in Scotland. A new BBC One documentary tells her story "In Her Own Words"; we'll be asking why she wanted to do that. Doctor-turned-comedian-turned-author Adam Kay's first book This Is Going To Hurt sold over 3 million copies and was adapted into a multi award-winning TV series. Now he's taken another career turn into children's fiction with a new character – Dexter Procter, the ten year old doctor. As an actress Deborah McAndrew played Angie Freeman on Coronation Street in the 1990s. She left the Rovers Return behind long ago for a career as a writer and her latest play tells the story of the night an Unidentified Flying Object landed near Stoke-on-Trent's Bentilee housing estate. The show draws on multiple eyewitness accounts from the time to create a warm and funny depiction of an extraordinary event happening to very ordinary people. Plus music from The Lemon Twigs's latest album A Dream Is All We Know. Presented by Nihal Arthanayake Produced by Olive Clancy
More authors from the Boswell Book Festival this week including Catherine Coldstream on her book Cloistered: My Years As a Nun and two great but very different poetry collections with Jackie Kay's Mayday and Donna Ashworth's Wild Hope. Plus, away from the festival, we get the books of your life from Yoto Carnegie Medal Winner Joseph Coelho and find new books available in the RNIB Library.
What's it like being awake at 4am? How do we feel about toads? Where does the word chortle come from, and when is an anthem truly personal?Ian McMillan gets to the heart of these questions through brand new poetry commissions, exploring the poems and poets we love, and through celebrating language's delights and quirks - all in the company of his guests: the poets Jackie Kay and Helen Mort, the actor Paterson Joseph, and the singer, songwriter and song 'treasurer' Sam Lee.Guests: Helen Mort's latest books are 'The Illustrated Woman' and 'A Line Above the Sky'. She shares a new commission called 'Corners' about the experience of being awake at 4am. Sam Lee joins her for the performance.Jackie Kay is the former Scottish Makar - her new poetry collection is May Day. Jackie discusses a poem by the Scottish poet Norman MacCaig called 'Toad', and reads her own poem 'Cairn'.Sam Lee's new album is Songdreaming. Sam is an arranger, folksong interpreter, passionate conservationist, song collector and creator of live events. He performs 'Banna's Lonely Shore', a song that he heard the Irish Traveller Nan Connors perform, and which he has never heard anywhere else.Paterson Joseph is an award-winning writer and actor, known for his powerful Shakespearian performances as well as his comic roles in television series like 'Green Wing' and 'Peep Show'. Paterson performs Lewis Carroll's 'Jabberwocky'. His novel is called 'The Secret Diaries of Charles Ignatius Sancho'.
My guest today has blazed a trail through the British poetry scene ever since her work was first published in 1991. Born in Edinburgh, Jackie Kay MBE was brought up in Glasgow by her adoptive parents, Helen and John Kay, of whom much more later. She has had countless poetry collections, short stories and novels published to acclaim, as well as her glorious memoir Red Dust Road which tells the story of meeting her birth parents. The winner of over 20 awards, Jackie is a professor of creative writing at Salford University and for five years she was the Scottish Makar (that's basically poet laureate).Her new collection May Day is an elegy to her beloved parents who (died within a year of each other) and taught her the meaning and power of protest. Something Jackie took to heart marching for women's rights, gay liberation and Black Lives Matter.I went to Glasgow to meet Jackie while she was on tour. Her beloved older brother Maxie had just died and she spoke candidly about love, loss and absence, living with nothing between you and the sky and how poetry helps her survive. We also discussed coming back into yourself in your 50s and 60s, why there should be lists after white male writer's names, the art of living together apart and why her emotional age is 150!* You can buy all the books mentioned in this podcast at The Shift bookshop on Bookshop.org, including MayDay by Jackie Kay and the book that inspired this podcast, The Shift: how I lost and found myself after 40 - and you can too, by me.* If you enjoyed this episode and you fancy buying me a coffee, pop over to my page on buymeacoffee.com• And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including exclusive transcripts of the podcast, why not join The Shift community, come and have a look around at www.theshiftwithsambaker.substack.com• The Shift (on life after 40) with Sam Baker is created and hosted by Sam Baker and edited by Juliette Nicholls @ Pineapple Audio Production. If you enjoyed this podcast, please rate/review/follow as it really does help other people find us. And let me know what you think on twitter @sambaker or instagram @theothersambaker. Hosted on Acast. See acast.com/privacy for more information.
Jackie Kay's adoption as a baby, and investigation into her birth parents — a Nigerian father and Scottish mother — give her an original take on Scotland and cultural identity. Jackie Kay talked about her uncomfortable discoveries upon meeting her birth parents, as well as her two books, Wish I Was Here and Darling: New and Selected Poems, when she met with Eleanor Wachtel at the Scottish Poetry Library in Edinburgh in 2007.
This week, my guest on the Book Club podcast is the poet Jackie Kay, whose magnificent new book May Day combines elegy and celebration. She tells me about her adoptive parents – a communist trade unionist and a leading figure in CND – and growing up in a household where teenage rebellion could mean going to church. We also discuss her beginnings as a poet, her debt to Robbie Burns and Angela Davis and how grief itself can be a form of protest.
This week, my guest on the Book Club podcast is the poet Jackie Kay, whose magnificent new book May Day combines elegy and celebration. She tells me about her adoptive parents – a communist trade unionist and a leading figure in CND – and growing up in a household where teenage rebellion could mean going to church. We also discuss her beginnings as a poet, her debt to Robbie Burns and Angela Davis and how grief itself can be a form of protest.
May Day is the title of Jackie Kay's new collection. The former Makar of Scotland explores a history of political protest, and the cultural influencers of the past, from Rabbie Burns to the poet Audre Lorde and Paul Robeson. She also celebrates the lives and activism of her parents, and grieves for their loss. The Green MP Caroline Lucas wants to reclaim and rewrite England's national story in her book, Another England. By exploring its radical tradition through its literary heritage she seeks to foreground the diverse writers and poets who spoke of a shared sense of identity and purpose, and a deep-rooted commitment to the natural world. The journalist and writer Simon Heffer looks back a century to the interwar period, a time of radical transformation of British society post the Great War, as many of the old attitudes started to be swept away. In his history, Sing As We Go, he shows how the culture of the time both shaped and reflected these changes.Producer: Katy Hickman
Notes and Links to Andrés Ordorica's Work For Episode 225, Pete welcomes Andrés Ordorica, and the two discuss, among other topics, his early relationship to the written word, formative and transformative writers and writing, wonderful trips to Borders Books, moments and people that shaped his sensibilities, Shakespeare comparisons, and seeds for and salient themes related to How We Named the Stars, including love and loss, the intensity of young love and first love and college, longing and grief. Andrés N. Ordorica is a queer Latinx writer based in Edinburgh. Drawing on his family's immigrant history and third culture upbringing, his writing maps the journey of diaspora and unpacks what it means to be from ni de aquí, ni de allá (neither here, nor there). He is the author of the poetry collection At Least This I Know and novel How We Named the Stars. He has been shortlisted for the Morley Lit Prize, the Mo Siewcharran Prize and the Saltire Society's Poetry Book of The Year. In 2024, he was selected as one of The Observer's 10 Best Debut Novelists. Buy How We Named the Stars Andres' Website New York Times Review of How We Named the Stars from Maxwell Gilmer At about 2:15, Andrés talks about the “surreal” experiences he's had since the book has been out in the world At about 3:20, Andrés shouts out Douglas Stuart and advice on dealing with multiple projects At about 5:40, Andrés calls his new project “part of a similar world” as that of How We Named the Stars At about 8:15, Andrés fill Pete in on his childhood relationship with libraries and the written word, including how his mother's storytelling influenced and inspired him At about 11:00, Andrés shouts out NorCal reading spots and how he “fell in love with the idea of books” At about 13:05, Andrés discusses writers and writing that catapulted him into writing and reading even more seriously-Cristina Garcia, Nathaniel Hawthorne, Susan Lori Parks, Sandra Cisneros, and Marquez At about 19:30, Andrés shouts out Jackie Kay and Griffin Hansbury and other contemporaries he's reading in 2024 At about 22:45, Andrés discusses the stellar work of Jackie Kay's time as Maker of Scotland At about 24:10, GoodReads discourse! At about 25:20, Andrés discusses seeds for the book and its epigraph At about 28:55, Andrés reflects on love and loss as important themes in general and in his book in particular At about 30:00, Andrés shouts out places to buy his book, and mentions that his book is a Barnes and Noble Pick of the Month At about 32:20, Andrés breaks down his “pragmatic” and “poetic” decisions to write the book in the epistolary form and let the trader know very quickly about a shattering death At about 34:35, Pete and Andrés discuss the Prologue and the cosmos and axolotls being referenced At about 39:40, Andrés gives history on how Elizabeth DeMeo helped him choose his dynamic title At about 41:00, Pete references ideas of light and darkness and tells a story about a mistaken symbol in Reyna Grande's Across a Hundred Mountains At about 43:55, Andrés talks about how even a novelist “doesn't have all of the answers” regarding the letter/book that constitutes the book At about 45:30, Pete makes a controversial comparison, re: Shakespeare At about 47:15, Andrés gives background on a deleted scene from the book alluding to As You Like It At about 48:45, Pete references Karim new book on Shakespeare by Farah Karim-Cooper At about 51:30, The two discuss the intensity of college and “the transitory” experience that characterizes the beginning of college At about 54:50, Pete asks Andrés about the first interactions between Sam and Daniel in the book and about an early scene as a balancing act At about 1:00:20, Pete lays out early scenes from the book that deal with ignorant and racist comments and the “generous” Sam-Andrés expands upon the former scene's significance At about 1:06:00, The two discuss Andrés' homesickness and family connections and “family” at college At about 1:07:00, Themes of masculinity and genuine selfhood are discussed, and Andrés talks about how he shaped parts of the book as an “homage” to figures in his life At about 1:09:50, Pete highlights Andrés incredible touch in rendering the immediate aftermath of a crushing death on the page You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode. I am very excited that starting in February with Episode 220 with Neef Ekpoudom and this episode, I will have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review-I'm looking forward to the partnership! Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 226 with Priscila Gilman, author of the memoir, The Anti-Romantic Child, and former professor of English literature at Yale University and Vassar College; Her writing has appeared in the New York Times, O, the Oprah Magazine, and elsewhere. Her memoir, A Critic's Daughter, was released to critical acclaim in Feb 2023 The episode will air on March 5.
In early February, we hosted a riotous, tender, enchanting and uplifting evening of poetry and prose with the irrepressible Hollie McNish and Michael Pedersen. After their readings they sat down with Adam Biles for a chat about friendship, a theme that unites their work.Buy Hollie McNish's Lobster here: https://www.shakespeareandcompany.com/books/lobsterBuy Michael Pedersen's Boy Friends here: https://www.shakespeareandcompany.com/books/boy-friends-2*Hollie McNish is a poet, author and lover based between Glasgow and Cambridge. She won the Ted Hughes Award for New Work in Poetry for her poetic parenting memoir – Nobody Told Me – of which The Scotsman stated ‘the world needs this book'. She has published four further lovely collections of poetry –Papers, Cherry Pie, Plum, and Slug, which was a Sunday Times bestseller, and was published in French by Le Castor Astral under the title Je souhaite seulement que tu fasses quelque chose de toi. Her new book, Lobster and other things I'm learning to love, is out now and according to her dad is 'her best work yet'. She loves writing.Michael Pedersen is a prize-winning Scottish poet and author, and the Writer in Residence at The University of Edinburgh. His prose debut, Boy Friends, was published by Faber & Faber in 2022 to rave reviews and was a Sunday Times Critics Choice. He's unfurled three collections of poetry, the most recent being The Cat Prince & Other Poems—which won the Books Are My Bag Readers Award for Best Poetry 2023. Pedersen has been shortlisted for the Forward Prizes for Poetry and The Saltire National Book Awards, and won a Robert Louis Stevenson Fellowship. His work has attracted praise from the likes of: Stephen Fry, Irvine Welsh, Kae Tempest, Jackie Kay, Sara Pascoe, Nicola Sturgeon & many more.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Ian McMillan ho ho hosts a special Christmas edition of The Verb from the Trades Club in Hebden Bridge, recorded in front of a live audience. With stories and verse and song to bring comfort and joy, from poet Jackie Kay, singer-songwriter Amelia Coburn, international storyteller Danyah Miller and doorstep poet Rowan McCabe who's been knocking on stranger's doors and offering to write them a poem especially for The Verb. So pull up a chair and make yourself comfortable. Are you ready? Then we'll begin...Producer: Cecile Wright
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
Inspired by Glasgow Women's Library's 30th anniversary celebrations and their Open the Door Literary Festival, Open Book's latest theme is Protest. Reading Jackie Kay's powerful 'A Life in Protest', written in response to Ingrid Pollard's work and 2021 exhibition 'No Cover Up', and Eloise Greenfield's thought-provoking 'Jinny's Freedom', Claire and Marjorie question how far we've come, how far we've yet to go, and the intergenerational impact of ongoing protest. -- Open Book Unbound Episode 58 – 2 October 2023 Hosts: Claire Urquhart and Marjorie Lotfi Producer: Colin Fraser Poems: 'A Life in Protest' by Jackie Kay, shared with permission from Glasgow Women's Library. 'Jinny's Freedom' by Eloise Greenfield, commissioned by Edinburgh International Book Festival as part of their 2018 Freedom Papers publication. Glasgow Women's Library: https://womenslibrary.org.uk/ No Cover Up Exhibition: https://artuk.org/discover/stories/a-life-in-protest-jackie-kays-response-to-ingrid-pollard-at-glasgow-womens-library Freedom Papers: https://www.edbookfest.co.uk/look-and-listen/writing/freedom-papers
It's all KOHLA The seven track LP is the highly-anticipated album from this talented artist who has already forged a strong fan base thanks to previous singles One and Only premiered by Wonderland Magazine, Sweetest Love, which was awarded Single of the Week on BBC Radio Scotland, and Bedroom which was hailed as ‘an answer to pop misogyny' by The Herald Newspaper. Kohla is the project of Rachel Alice Johnson, a singer-songwriter and musician with a classical background. An interdisciplinary Scottish artist, she is a singer, songwriter, producer, fine artist, dancer, poet and a graduate of the Edinburgh College of Art. She is also the founder of Popgirlz Scotland, a support group for women in music, and lectures about feminism at international universities. A self-taught producer, working primarily in orchestral programming on Ableton software in her home studio (statistics show that only 2.9% of producers are female). She has recently been selected by Help Musicians to undertake production and mixing training with professional female Ableton trainer Anna Lakatos. Speaking about the new album, Kohla said: “I've always felt incredibly fascinated by the concept of romantic love; how cinematic and luxurious it feels to be adored by another human being. How rare it is. And how devastating it can feel to lose. “I wrote ‘Romance' whilst enduring a summer of filmic heartbreak. In desperate need of an emotional release, I turned to my piano for comfort. I wrote personally and vulnerably, for what felt like the very first time. Within eight weeks, ‘Romance' had written itself. “In hindsight, ‘Romance' feels very much to me like a ‘coming-of-age' album. From a female perspective, I realised I had grown up with a blissful naive idea of romance, whether formed through Disney or education. I felt impassioned to detach from this oppressive ideology, where women require a sub-standard partner to provide safety or validation. It feels emotional to let go of the little girl who wanted to believe in so much. But it's left me with a valuable perspective - the love I found for myself is worth so much more.” As a clarinettist she performed in school orchestras and competed in national competitions, while at home, her father would play Classic FM, subtly exposing her to masterpieces by Beethoven, Mozart and Debussy. Alongside these formative influences, Kohla draws inspiration from legendary 60s artists such as Sam Cooke and Etta James, and her cinematic production nods to the likes of Frank Ocean, Lana Del Rey and FKA Twigs. ‘Romance' is co-produced by Kohla's creative partner Dave Lloyd, of the Edinburgh band Stillhound, and her sonic stories are coloured through a blend of digital and analogue, a vivid illustration of her sepia-tinged memories. Written during a summer that Kohla describes as a period of “filmic heartbreak”, ‘Romance' is the sound of emotional release and vulnerability. During the album's creation, she took inspiration from a range of sources, including daily hikes, meditation, painting and reading, the legendary soul and jazz of Etta James, Sam Cooke and Nat King Cole, Jackie Kay's poetry and Sofia Coppola's motion pictures. ‘Romance' marks the culmination of a rich and deeply creative and heartfelt chapter in Kohla's creative journey and musical career, and is an assured and alluring debut album from this exceptional artist. #KOHLA #Music #Popgirlz
Martin Riedmiller of Google DeepMind on controlling nuclear fusion plasma in a tokamak with RL, the original Deep Q-Network, Neural Fitted Q-Iteration, Collect and Infer, AGI for control systems, and tons more! Martin Riedmiller is a research scientist and team lead at DeepMind. Featured References Magnetic control of tokamak plasmas through deep reinforcement learning Jonas Degrave, Federico Felici, Jonas Buchli, Michael Neunert, Brendan Tracey, Francesco Carpanese, Timo Ewalds, Roland Hafner, Abbas Abdolmaleki, Diego de las Casas, Craig Donner, Leslie Fritz, Cristian Galperti, Andrea Huber, James Keeling, Maria Tsimpoukelli, Jackie Kay, Antoine Merle, Jean-Marc Moret, Seb Noury, Federico Pesamosca, David Pfau, Olivier Sauter, Cristian Sommariva, Stefano Coda, Basil Duval, Ambrogio Fasoli, Pushmeet Kohli, Koray Kavukcuoglu, Demis Hassabis & Martin Riedmiller Human-level control through deep reinforcement learning Volodymyr Mnih, Koray Kavukcuoglu, David Silver, Andrei A Rusu, Joel Veness, Marc G Bellemare, Alex Graves, Martin Riedmiller, Andreas K Fidjeland, Georg Ostrovski, Stig Petersen, Charles Beattie, Amir Sadik, Ioannis Antonoglou, Helen King, Dharshan Kumaran, Daan Wierstra, Shane Legg, Demis Hassabis Neural fitted Q iteration–first experiences with a data efficient neural reinforcement learning method Martin Riedmiller
On this Mile High Hockey Lab episode, host Adrian Hernandez is joined by Jackie Kay, Evan Liu, and Ezra Parter of MileHighHockey.com. They will talk about the upcoming Stanley Cup Final between the Vegas Golden Knights and Florida Panthers, news on Gabe Landeskog, and spin the wheel-o-free agents for the first time! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab Playoff Edition, Adrian (Host), Evan Liu, Ezra Parter, and Jackie Kay discuss the aftermath of Colorado's first-round exit and react to Gabe Landeskog's surgery announcement. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab Playoff Edition, Adrian (Host), Evan Liu, Jacob Weindling, Ezra Parter, and Jackie Kay discuss the Colorado Avalanche and Seattle Kraken first-round matchup! Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab Playoff Edition, Adrian (Host), Evan Liu, Jacob Weindling, Ezra Parter, and Jackie Kay discuss the Colorado Avalanche and Seattle Kraken first-round matchup! Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab Playoff Edition, Adrian (Host), Evan Liu, Jacob Weindling, Ezra Parter, and Jackie Kay discuss the Colorado Avalanche and Seattle Kraken first-round matchup! Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this edition of the Mile High Hockey Lab, Adrian (Host), Evan Liu, and Jackie Kay discuss current events Colorado Avalanche style. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this edition of the Mile High Hockey Lab, Adrian (Host), Jacob Weindling, Evan Liu, and Jackie Kay discuss current events Colorado Avalanche style. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this edition of the Mile High Hockey Lab, Adrian (Host), Ezra Parter, Evan Liu, and Jackie Kay discuss current events Colorado Avalanche style. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this edition of the Mile High Hockey Lab, Adrian (Host), Ezra Parter, Evan Liu, and Jackie Kay discuss current events Colorado Avalanche style. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All episodes are broadcasted live on the Mile High Hockey Lab YouTube Channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab episode, Ezra Parter (Host), Jackie Kay, Adrian Hernandez, Jacob Weindling, and Evan Liu discuss the handling of Cale Makar's multiple concussions, Erik Johnson and other injuries, and how that may affect moves at the trade deadline. The writers also touched on Martin Kaut's comments following the trade. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All broadcasts will be available on our YouTube channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
Inner city life in Chicago's Bronzeville and the experiences of ordinary people inspired the first poetry collection published by Gwendolyn Brooks in 1945 and she followed this with a sequence of poems Annie Allen and a novella Maud Martha depicting Black women entering adulthood. Chicago based poet Peter Kahn, editor of an anthology of modern poets responding to the writing of Brooks, and poets Malika Booker and Keith Jarrett join Shahidha Bari to discuss the themes and textures in Gwendolyn Brooks' writing and what it means to write a Golden Shovel poem, whilst literature scholar Sarah Parker and pattern maker Gesa Werner talk about putting on an exhibition about fashion and poetry which features a poem by Brooks. Producer: Robyn Read Poets in Vogue curated by Sophie Oliver, Sarah Parker and Gesa Werner runs Feb 17th to June 25th 2023. It includes a skirt that belonged to Sylvia Plath, a reconstruction of Anne Sexton's red ‘reading dress', creative interpretations of Audre Lorde's, Edith Sitwell's and Stevie Smith's signature looks, a fabric-adaptation of a poem by Gwendolyn Brooks and the clothes-performances of Theresa Hak Kyung Cha. Peter Kahn edited The Golden Shovel Anthology: New Poems Honoring Gwendolyn Brooks. His own poetry collection Little Kings is published by Nine Arches Press. In the Free Thinking archives you can find Noreen Masud on the aphorisms of Stevie Smith https://www.bbc.co.uk/programmes/m000srj1 A discussion Landmark: Audre Lorde hearing from her children, Jackie Kay and Selina Thompson https://www.bbc.co.uk/programmes/m0004my0 and during February's Queer History month on BBC Sounds - a Words and Music episode celebrates Audre Lorde's writing https://www.bbc.co.uk/programmes/m000ql9k Sophie Oliver discusses Anne Sexton and Sylvia Plath https://www.bbc.co.uk/programmes/m000
On this Mile High Hockey Lab episode, Ezra Parter (Host), Jackie Kay, Adrian Hernandez, and Evan Liu discuss potential trade targets for the Avalanche, recap/react to All-Star weekend, and conduct a live poll to get a beat on fan expectations. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All broadcasts will be available on our YouTube channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab episode, Adrian Hernandez (Host), Jackie Kay, and Evan Liu discuss Colorado's recent success, react live to the Bo Horvat trade & talk about how the Avalanche should approach the NHL trade deadline! Please don't forget to like, subscribe and share with your fellow Avalanche fans! All broadcasts will be available on our YouTube channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
On this Mile High Hockey Lab episode, Ezra Parter (Host), Jackie Kay, Jacob Weindling, and Adrian Hernandez discuss the keys to Colorado's recent winning streak, who will leave the lineup once injured players return, and more! Managing Editor Evan Liu joins the show to shed light on the current situation with SB Nation. Please don't forget to like, subscribe and share with your fellow Avalanche fans! All broadcasts will be available on our YouTube channel! #GoAvsGo Learn more about your ad choices. Visit podcastchoices.com/adchoices
In this week's Mile High Hockey Lab episode, we discussed the most likely outcome for this Avalanche squad. Before hearing the comments from Darryl Sutter, our very own Jackie Kay (@tigervixxen) saw things very similarly. The entire panel agrees that taking on the whole division doesn't seem likely and that aiming for third in the division is reasonable. Colorado's consecutive and high-scoring victories over the Ottawa Senators and Detroit Red Wings naturally spurred on talks of this Avalanche team returning to their old form. Jacob Weindling (@JakeWeindling) thinks that Colorado is missing one essential piece to the truth of that statement. That piece is captain Gabe Landeskog. This leads our conversation into recent injury status updates again, courtesy of Jackie Kay. Starting with Landy, he is not in Colorado, according to Jared Bednar but receiving treatment elsewhere. Is it possible he's working with the same world-renowned establishment that Bo Byram recently visited? It's possible. On the positive side, it sounds like defensemen Josh Manson and Bo Byram should return after the all-star break. Manson made the trip to Calgary, but it's still unclear whether he will return to the lineup against the Flames. Maybe later on in the road trip against the Kraken? We then circled back to why we don't believe we've seen enough to say the Avalanche are "back." Whatever that means. Editor Evan Liu gave more context to a tweet sent out during Colorado's win over the Detroit Red Wings. To paraphrase, the Avalanche must consistently show this effort and success against more formidable opponents to be considered as dangerous as last year's cup-winning club. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Ezra Parter hosts this week's episode with Jackie Kay, Jacob Weindling & Evan Liu making up our panel. Jeff Chapman joins, Editor of Copper & Blue, to preview Saturday's matchup with the Edmonton Oilers and discuss what might be holding them back. All episodes are broadcasted LIVE via the Mile High Hockey Lab YouTube Chanel. Like, subscribe, and turn your notifications on to be notified every time we broadcast! Head over to milehighhockey.com for everything Colorado Avalanche! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Adrian Hernandez, Evan Liu, and Jackie Kay of milehighhockey.com talk about Colorado Avalanche. In this episode, the MHHL panel discusses possible return timelines for injured players, what to expect from the current patch-work roster, and previews the Avalanche vs. Rangers contest. Please don't forget to subscribe and share! Please tune into our live broadcast on the Mile High Hockey Lab YouTube channel! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Writer and BBC Radio 3 presenter Kate Molleson joins Jude to talk about the book Bessie Smith by Jackie Kay.As well as digging into the life of Bessie they also discuss how music provides solace, childhood encounters with music, whether women are allowed to be straight up authorities on music, radical lyrics and the complications of discussing a female musician's clothes.Books mentioned in the podcast:Sound Within Sound: Opening Our Ears to the Twentieth Century by Kate Molleson https://bit.ly/3bZkZC2Us Conductors by Sean Michaels https://uk.bookshop.org/books/us-conductors/9781408868690The Musical Life of Gustav Mole by Kathryn Meyrick https://uk.bookshop.org/books/the-musical-life-of-gustav-mole/9780859533331Bessie Smith by Jackie Kay https://bit.ly/3wddpuFYou can buy Jude's book The Sound of Being Human: How Music Shapes Our Lives here: https://uk.bookshop.org/books/the-sound-of-being-human-how-music-shapes-our-lives/9781474622929Finally White Rabbit's Spotify Playlist of 'booksongs' - songs inspired by books loved by our guests - is here: https://open.spotify.com/playlist/7chuHOeTs9jpyKpmgXV6uo Hosted on Acast. See acast.com/privacy for more information.
Penny Boxall is the winner of the 2016 Edwin Morgan Poetry Award and the 2018 Mslexia / Poetry Book Society Poetry Competition. She's the author of two collections, Ship of the Line and Who Goes There?, both published by Valley Press. She was born in 1987 and grew up in Aberdeenshire and Yorkshire. We spoke earlier this year and at the time of the interview she was Development Manager at Shandy Hall, Laurence Sterne's house in the North York Moors. Jackie Kay, who was one of the judges the year Boxall won, said of her poetry: ‘Penny Boxall runs a tight ship. Her poems are beautifully crafted. Reading her is to go on an interesting journey of exploration—stopping at fascinating places along the way. She has a curator's mind and is always putting one thing beside another in an unexpected way.'
Tess Gunty on The Rabbit Hutch; Jackie Kay on the writing of Jamaica Kincaid
Happy Pride everyone! I thought I'd do something a little different this month and focus on a list of LGBTQIA+ writers, both new and the very old, to get you started with supporting the community this month (and every month please!) If you have a recommendation that you would like to share, please email me at writingwomenpodcast@gmail.com and I'll be sure to share them! Reccs in order of the episode: Detransition Baby by Torrey Peters No Modernism Without Lesbians by Diana Souhami Double Booked by Lily Lindon Adrienne Rich Poetry Audre Lorde Poetry and Essays Giovanni's Room by James Baldwin Angels in America by Tony Kushner Trumpet by Jackie Kay or any of her poetry collections Oscar Wilde Leaves of Grass by Walt Whitman Poetry by Frank O'Hara Playtime by Andrew McMillan Complete Poems by Emily Dickinson On Earth We're Briefly Gorgeous by Ocean Vuong Milk Fed by Melissa Broder Fire Island on Disney+
Name: Jane Reading: Trumpet, Jackie Kay Why did you want to read this? I wanted to read this because it remained in my memory so clearly. I loved the story and the clarity of the narrators voice, with the words and images falling like the notes of the trumpet. Her descriptions of the house by the sea and that whole locality, feel very familiar to me as of course do the parts set in Glasgow. How did you record yourself? I recorded this on my Samsung A50, sitting in an armchair in the sunshine. It was easier, and worked out better, than I had anticipated.
William Matthew Timothy Stephen Sieghart CBE is a British entrepreneur, publisher and philanthropist and the founder of the Forward Prizes for Poetry. He is the current chairman of the Somerset House Trust.In this episode, he talks to Nikki Gamble about the place of poetry in our lives and talks about some of his favourite poems.About Everyone Sang: a poem for every feelingA magnificent anthology of poems themed around different moods, collected by the bestselling creator of The Poetry Pharmacy and illustrated by Emily Sutton. This exquisite gift-book contains over a hundred poems, chosen by creator of the bestselling The Poetry Pharmacy, William Sieghart, and illustrated in sensational style by picture-book star Emily Sutton. Divided into four thoughtfully-curated sections, including Poems to Make You Smile, Poems to Move You, Poems to Give You Hope and Poems to Calm and Connect You, the poems originate from an extraordinary and diverse range of sources, from Maya Angelou to Roger McGough, Lemn Sissay, Jackie Kay, Carol Ann Duffy, Joseph Coelho, Kae Tempest, W.B.Yeats, Christina Rossetti and Emily Dickinson, among many others. Combining traditional favourites with recent gems, here are poems to delight, inspire, entertain, intrigue, console and uplift readers of all ages.
How do you decolonise your syllabus and create a queer book fest at the same time? Dr Vedrana Velickovic (Brighton) shares the amazing origin story of the queer literature festival ‘The Coast is Queer' and tells us about the many authors, activists, students and creatives that shape the programme every year. We talk about our favourite activist bookshops, about exciting queer books from Eastern Europe and about the perception of the East in the West. Vedrana also talks about her ongoing cooperation with Bernardine Evaristo and gives us a sneak peek into her dream festival programme. Jackie Kay? Are you listening?If you're looking for even more queer literary content, look no further: follow @coastisqueer and @Lena_Mattheis on Twitter and check out@queerlitpodcast's little Instagram. Texts, shops and people mentioned:https://coastisqueer.comVedrana Velickovic's Eastern Europeans in Contemporary Literature and Culture: Imagining New Europe (Palgrave, 2019)Grand Parade BuildingAfrori Books (Brighton)The Feminist Bookshop (Brighton)New Beacon Books (London)Jay Bernard's SurgeDanez Smith Diriye Osman's Fairytales for Lost ChildrenPolari PrizeJackie Kay's TrumpetThe Marlborough Theatre (Brighton)Dr Samuel Solomon (Sussex)Centre for Sexual Dissidence (Sussex University)New Writing South @newwritingsouthLesley WoodDavid SheppeardJuno Roche's Trans Power and Queer SexJuno DawsonDr Sita Balani (Kings College)Douglas Stuart's Shuggie BainFestival Krokodil (Belgrade)Lejla Kalamujić's Call me EstebanDragoslava BarzutSlovenian Poet Anja Golob Skin from Skunk AnansieGay's the WordMaria JastrzębskaDocumentary on trans* rights in Germany https://www.abheute-doku.com/doku?fbclid=IwAR2fE740-9HLF66SbbhaaJZ6MD-rG9uHP16BFpzjJssuaYDxoWjrI4-V87wH Howitt (Brighton)Crossing Waves PodcastDeCol Collective https://blogs.brighton.ac.uk/decolonisingatfalmer/Mohsin Zaidi's A Dutiful BoyBernardine Evaristo's ManifestoBlack and Asian British Women's Writing International Conference https://blogs.brighton.ac.uk/decolonisingatfalmer/common-threads-black-and-asian-british-womens-writing-international-conference/Pajtim Statovci's My Cat Yugoslavia, Crossing, and BollaPaul Mendez Rainbow MilkQuestions you may want to reflect on after listening:1.What role can literature and teaching play in creating a more inclusive society?2.We talk about several radical or activist bookshops. Please look up another one. Is it in your area? Was it easy to find? Do you think we need these shops?3.Which literature festivals are you familiar with? Will you attend or support one this year?4.How do you decolonise your bookshelf?
To support our work and listen to additional content from previous episodes, see here: https://patreon.com/yourshelf and follow us on social media @_yourshelf_ (note: there is no Patreon episode for either of our Books of the Year 2020 episodes). In our latest, tenth episode of The YourShelf Podcast, Poetry Book of the Year 2020, our chief curator Juliano Zaffino (Jay) catches up with Seán Hewitt to discuss Seán's book Tongues of Fire, the work of Gerard Manley Hopkins, Hewitt's forthcoming memoir (due 2022), and a recap of the best books of 2020. For full show notes, see here: https://podcast.yourshelf.uk/episodes/10. Thanks for listening.LinksPatreonInstagramTwitterPodcastYourShelfEpisode NotesJay asks Seán about what book world he would live in, what his bookshelves look like, and who he'd invite to a literary dinner party. (from 0:01)Seán explains the origins of his book Tongues of Fire, his pamphlet Lantern, the scope of nature poetry, timeliness vs timelessness, the influence of Gerard Manley Hopkins and more. (from 9:20)Seán recaps his favourite books, albums and TV shows of 2020, recommends some titles for 2021, and hints at his forthcoming memoir, All Down Darkness Wide, due out 2022. (from 44:50)Seán Hewitt gives a special reading of Jay's favourite poem in Tongues of Fire, 'Adoratrion'. (from 1:01:03)The books and authors discussed in this episode include: Philip Pullman's Northern Lights, the works of Flann O'Brien, Virginia Woolf, James Baldwin, Gerard Manley Hopkins, Christopher Marlowe and William Blake, Thomas Hardy's Jude The Obscure, Hera Lindsay Bird by Hera Lindsay Bird, Alice Oswald's Dart, Freya Daly Sadgrove's Head Girl, Mark Doty's My Alexandria, Wayne Holloway-Smith's Love After Love, and the works of Ocean Vuong, Doireann Ní Ghríofa, Karin Boye and J.M. Synge.Seán's 2020 highlights include Claudia Rankine's Just Us, Hilary Fannin's The Weight of Love, Rachel Long's My Darling From The Lions, Eavan Boland's The Historians, Robin Robertson's Grimoire, Jane Mead's World of Made and Unmade, and Caleb Femi's Poor. Aside from books, Seán's other 2020 highlights include the albums What's Your Pleasure? by Jessie Ware and Roísín Machine by Roísín Murphy, the TV shows Schitt's Creek and The Crown, and playing the Nintendo game The Legend of Zelda: Breath of the Wild.Seán's most anticipated releases of 2021 include Niven Govinden's Diary of a Film, Jackie Kay's Bessie Smith, Andrew McMillan's Pandemonium, Kayo Chingonyi's A Blood Condition, and Jen Hadfield's The Stone Age.Seán's book Tongues of Fire is available now from Jonathan Cape. His academic volume J.M. Synge: Nature, Politics, Modernism is available from Oxford University Press, 7 January 2021.Thanks for listening and tune in again very soon for our second Book of the Year episode, with Doireann Ní Ghríofa!
If the poets of the past sat in their garrets dipping their quills in ink and waiting for inspiration to strike, our current Poet Laureate Simon Armitage has a more mundane and domestic arrangement. From his wooden shed in the garden, surrounded on all sides by the Pennine Hills and the Pennine weather, he scratches away at his reworking of the comic medieval poem The Owl and the Nightingale. Any distraction is welcome, even encouraged, to talk about poetry, music, art, sheds, sherry, owls, nightingales and to throw light on some of the poem's internal themes. Jackie Kay, who first shared a stage with Simon 30 years ago on the New Generation poetry tour reminisces about those first readings as well a sharing their current experiences of holding the highest positions in poetry - Jackie as the Scottish Makar and Simon as the Poet Laureate. The conversation ranges far and wide as these two friends look back on their writing lives.
Poet Laureate Simon Armitage is a former probation officer, DJ and a poet celebrated for his witty and profound take on modern life. In this podcast, he invites guests to join him in the writing shed in his garden to talk about life, language and the human voice. Surrounded on all sides by the Pennine hills and the Pennine weather, Simon welcomes, even encourages, the distractions his guests offer through talk of music, art, sheds, sherry and his latest poetic undertaking: a translation of the Middle English poem The Owl and the Nightingale. Over 12 episodes, guests include acclaimed spoken word performer Kate Tempest, Turner Prize recipient Antony Gormley, model and actress Lily Cole, DJ and Elbow frontman Guy Garvey, actress Maxine Peake, poet Jackie Kay and World Record beatboxing champion Testament.
‘There are three urgent and indeed great problems that we face today… that is the problem of racism, the problem of poverty and the problem of war.' The words of Martin Luther King in 1967 when he visited Newcastle upon Tyne to receive an honorary degree. Words that underlie a discussion about poetry and protest which features in the festival marking the 50th anniversary of that visit. The poets Jackie Kay, Fred D'Aguiar and Major Jackson join Shahidha Bari and an audience at Newcastle University to explore the nature of protest poetry and to launch a poetry anthology celebrating the spirit of Dr King. Producer: Zahid Warley.MAJOR JACKSON Going to Meet the Man As if one day, a grand gesture of the brain, an expired subscription to silence, a decision raw as a concert of habaneros on the lips: a renewal to decency like a trash can smashing a storefront or the shattering glass face of a time-clock: where once a man forced to the ground, a woman spread-eagled against a wall, where a shot into the back of an unarmed teen: finally, a decisive spark, the engine of action, this civilian standoff: on one side, a barricade of shields, helmets, batons, and pepperspray: on the other, a cocktail of fire, all that is just and good"Going to Meet the Man" originally published by W. W. Norton & Company, Inc. in Holding Company,© Major Jackson, 2010 The Mighty Stream: Poems in Celebration of Martin Luther King edited by Carolyn Forché and Jackie Kay is published by Bloodaxe. Photo: Dr. Martin Luther King, Jr. signs the Degree Roll At Newcastle University after receiving an honorary Doctor of Civil Law degree, Newcastle, England, November 14, 1967. Credit: Getty Images
Beth Ditto talks about her debut solo album Fake Sugar, her first since the break up of her punk-pop band Gossip, in which she returns to her Southern roots.Jackie Kay performs new work live. When Jackie became Scotland's Makar, or National Poet, she said she hoped to open 'the blethers, the arguments and celebrations that Scotland has with itself'. In Bantam, her first collection as Makar, she does exactly that, with poems celebrating the people, history and landscape of Scotland.The phrase Domestic Noir was first coined in 2015, and is often used in relation to psychological suspense dramas in a domestic, intimate context. Two writers of this genre, Mel McGrath and Alex Marwood, discuss the appeal of writing this over straight crime, and why it appeals to a predominantly female readership.
Zora Neale Hurston was an African-American novelist and folklorist and a queen of the Harlem Renaissance. But when she died in 1960 she was living on welfare and was buried in an unmarked grave. Her name was even misspelt on her death certificate. Scotland's National poet Jackie Kay tells the story of how Zora would later become part of America's literary canon.
A new musical, Everybody's talking about Jamie, is based on the story of a 16 year old boy determined to go to his prom in a dress and become a drag queen. Samira Ahmed went to rehearsals to meet Dan Gillespie Sells from band The Feeling, and screenwriter Tom MacRae who have created their first musical, as well as Jamie Campbell, now 21, on whom it is based. Vic James's debut novel, Gilded Cage, is set in a Britain where the magically-skilled aristocracy compels all commoners to serve them for ten years. Vic wrote it on Wattpad, an online storytelling website. It was read over a third of a million times and went on to win Wattpad's Talk of the Town award. She joins Samira, live. The Allure of Napoleon is the opening exhibition in the Bowes Museum's year-long celebration of its 125th anniversary. Dr Tom Stammers, lecturer in European Cultural History at the University of Durham, discusses this show which presents Napoleon as one of the first celebrity statesmen, who burnished his ascent from political outsider to national leader with the power of art.Hacksaw Ridge has six Oscar nominations; including Mel Gibson for Best Director. The film tells the true story of Desmond Doss, the first conscientious objector to earn the Congressional Medal of Honour for saving the lives of 75 soldiers in Okinawa, one of the bloodiest battles of WWII. It's been hailed as a new kind of war movie because it graphically exposes the effects of guns on the human body while celebrating a central character who refuses to pick one up. Michael Leader reviews.This evening is Burns Night when, all over the world, people celebrate the great Scottish makar, Robert Burns. Front Row has a reading his work from Scotland's current Makar, Jackie Kay. Producer: Julian May.
Kirsty Young's castaway is the poet and writer Jackie Kay. Born in Edinburgh in 1961 to a Scottish mother and a Nigerian father, she was adopted as a baby by a white Scottish couple, Helen and John Kay, and grew up in Bishopbriggs, Glasgow. Her father worked for the Communist Party and her mother was the Scottish secretary for CND. She began to write seriously at the age of 17 when recovering from a moped accident, and while reading English at the University of Stirling she became a feminist and politically active in the arena of gay and lesbian rights and racial equality. Her first book of poetry, the partly autobiographical The Adoption Papers, was published in 1991 and won the Saltire Society Scottish First Book Award. She won the 1994 Somerset Maugham Award for Other Lovers, the Guardian Fiction Prize for Trumpet and in 2010 published Red Dust Road, an account of her search for her biological parents. She is now Professor of Creative Writing at Newcastle University and Chancellor of Salford University and was appointed Makar - Scotland's Poet Laureate - in March 2016. Producer: Cathy Drysdale.
In a week of broadcasts tracking the 100th anniversary of the first week of the Battle of the Somme, Radio 3's Essay series is featuring five new poems written in response to the battle. The poems have been commissioned by 14-18Now and these programmes will broadcast the poems for the first time and also hear from the poets about their inspiration and writing. 4th July: Paul Muldoon: July 1st 1916, With the Ulster Division 5th July: Yrsa Daley-Ward: When your mother calls you, come. 6th July: Bill Manhire: Known Unto God 7th July: Jackie Kay: Private Joseph Kay 8th July: Daljit Nagra: On your 'A 1940 Memory'Jackie Kay's poem was commissioned by 14-18 NOW:WW1 Centenary Art Commissions, Norfolk & Norwich Festival and Writers' Centre Norwich. It was published by Gatehouse Press.Producer: Tim Dee.
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