Podcast appearances and mentions of Jerry Lee Lewis

Hello - Hooray - Let The Show Begin.... Episode 77 begins with bobble head Alice Cooper joining us!!! We also have a discussion about Leon Russell as well as another legendary Piano player, The Killer, Jerry Lee Lewis. See omnystudio.com/listener for privacy information.

After a recent discussion on the show about Janis Joplin and her distaste for Jim Morrison, the guys thought it was worth revisiting another tale of how Janis refused to put up with bad behavior - this one involving Jerry Lee Lewis. Enjoy this clip from all the way back in Episode 118.

Single Going Around- Back To Mono Volume 5Mono records; played and transferred in mono. Play LOUD.The Kinks- "You Really Got Me"Esquerita- "I Need You"Pink Floyd- "Arnold Layne"The Monkees- "Mary, Mary"The Rolling Stones- "Get Off Of My Cloud"Jerry Lee Lewis- "Jambalaya"Otis Redding- "Nobody Knows You"Dave Clark Five- "I Like It Like It Like That"Booker T & The MGs- "Chinese Crackers"Chuck Berry- "Roll Over Bethoven"Johnny Cash- "Big River"The Doors- "Break On Through"Sonny & Cher- "It's Gonna Rain"The Beach Boys- "I Should Have Known Better"The Byrds- "Eight Miles High"Pink Floyd- "See Emily Play"The Beatles- "Within You Without You"Rolling Stones- "As Tears Go By"Booker T & The Mgs- "Twist and Shout"Otis Redding- "Scratch My Back"Chuck Berry- "Nadine"The Beach Boys- "You've Got To Hide Your Love Away"

We tend to think more of the guitar as a rock and roll instrument, but Jerry Lee Lewis, Little Richard and Fats Domino were a big part of the early sound of rock and roll. While there are plenty of great rock piano players, that lead guy or gal mostly tends to be playing a six-string. In the 70s and 80s, the big piano frontmen were Billy Joel and Elton John – hugely popular with what they did, but much (though not all) of it was balladry. Where were the trouble-makers and the pisstakers behind the 88s? One of them was hiding out in North Carolina. Welcome to episode 171 of Love That Album. By 2000, Ben Folds Five had broken up, leaving behind three incredible albums of “punk music for sissies” (Ben's alleged description of the band). They'd created songs both raucous and tender, angry and loving, serious and funny. In 2001, Ben Folds released his first solo album “Rockin' The Suburbs” (recorded in Adelaide), and he plays and sings nearly everything. Once again, he aimed for your funny bone, but he also told stories that could break your heart. These stories showed once again that Folds was a master of melody, harmony and was very literate. For this episode, I am joined by the host and “numbers girl” of the wonderful All Time Top Ten podcast, Ben Eisen and Shannon Hurley. We sit around the virtual table discussing Folds' techniques in composition and arrangement, his potty mouth, the seeming contrast between the man who could write both The Luckiest and Song For The Dumped, and real life stories from the suburbs about everyday people brought to life in this collection of short stories – love spurned, love embraced, parenthood, mental health, and cussing on the mic. My huge thanks to both Ben and Shannon for being such great partners for this discussion about a performer who we all love. We never even mention the one song seemingly everyone knows….because Folds is so much more than that one song. I won't let it be 3 years before Ben and Shannon rock the mics with me on LTA again. You can catch new episodes of All Time Top Ten every week on favourite podcast app, or go to https://podcasts.apple.com/us/podcast/all-time-top-ten/id573735994 At the time of this LTA, there are 590 episodes recorded!!!!! Most are archived at https://www.mixcloud.com/beneisen/ If you want to check out Shannon's variety of projects (music, art, videos), then head to https://shannonhurley.com/ Download this episode of LTA from your podcast app of choice. The wider back catalogue of episodes can also be found at http://lovethatalbumpodcast.blogspot.com Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum I'm also on Instagram at https://www.instagram.com/lovethatalbumpodcast/ Proudly Pantheon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marty Stuart has dedicated his life to playing and preserving old country music. During his 40-plus years as a solo artist, Marty has released more than 20 albums and racked up numerous honors, including five Grammys, and an induction into the Country Music Hall Of Fame. Marty started his career at the age of 12 playing mandolin in a gospel band. By 21, he'd joined Johnny Cash's touring band, and eventually became a solo artist who combined classic rockabilly sounds with bluegrass and cosmic country. His latest album has a sweeping, spacious feel that's meant to conjure up visions of desert horizons and endless stretches of two-lane highways. For today's episode, Bruce Headlam met up with Marty Stuart at Bridge Studios in Brooklyn. Marty shared stories about first going on the road with the Sullivan Family Gospel Singers, and the very first show he ever played backing Johnny Cash where Marty pretended to know how to play the fiddle. Marty also talks about how a star-studded studio session with Roy Orbison, Carl Perkins and Jerry Lee Lewis gave him the confidence to pursue a solo career in country music. You can hear a playlist of some of our favorite Marty Stuart songs HERE.See omnystudio.com/listener for privacy information.

Welcome to the Instant Trivia podcast episode 1007, where we ask the best trivia on the Internet. Round 1. Category: Shake, Rattle And Roll With Science 1: In these events Love waves shake the ground rather than rolling it. earthquakes. 2: Each time a rattlesnake does this, a new segment is added to its rattle. sheds skin. 3: Also meaning to upset someone, it's a fancy chemistry word for "shake", as in "Stopper the tube and blank the solution". agitate. 4: When you roll through a loop-de-loop on roller coasters, this 7-letter property keeps you in your seat. inertia. 5: Once the mace cover is removed, the seed is dried and this spice can be heard rattling inside and is now ready for harvest. nutmeg. Round 2. Category: Today'S Horoscope 1: This "chaste" sixth sign of the Zodiac gets bold today! You're feminine, but you can play with the big boys!. Virgo. 2: This sign has carried the water for "ages"! You're positive! Make things happen today!. Aquarius. 3: (June 21 - July 22)Why so crabby?. Cancer. 4: This masculine, mutable air sign is ruled by Mercury and knows there are 2 sides to everything, so think twice today!. Gemini. 5: This December-January sign is negative and can be stubborn, but not today; relax and you'll respond. Capricorn. Round 3. Category: Muhammad Ali At 70 1: Future heavyweight Muhammad Ali was born in Louisville Jan, 17, 1942 and named this. Cassius (Marcellus) Clay. 2: Ali won a light heavyweight boxing gold medal at the 1960 Summer Olympics in this European capital. Rome. 3: Ali first took the heavyweight title with a 1964 upset win over this man. Sonny Liston. 4: In 2011 Ali said of this man, "the world has lost a great champion"; he had less kind things to say in the '70s. (Joe) Frazier. 5: For 8 years this actor insisted he wasn't up to playing Ali, but in the end Ali said, "I even thought he was me". Will Smith. Round 4. Category: Louisianians 1: This fitness guru who grew up big in Louisiana now urges, "One should eat to live; not live to eat". Richard Simmons. 2: "My Favorite Martian" on TV, he's really from New Orleans. Ray Walston. 3: Goodness, gracious, great balls of fire! He hails from Ferriday. Jerry Lee Lewis. 4: This sportscaster and former QB from Shreveport led the Steelers to Super Bowl titles in '75, '76, '79 and '80. Terry Bradshaw. 5: This Texas doctor famous for his advances in heart surgery is a transplant from Lake Charles, LA. Michael DeBakey. Round 5. Category: Iron Man 1: On Sept. 20, 1998 Ryan Minor replaced Cal Ripken Jr. of this team, ending Cal's incredible consecutive game streak. the Orioles. 2: From 1955 to 1962 Glenn Hall started an NHL record 502 consecutive games at this position, playing some of it on his knees. goalkeeper. 3: In 2018 bowler Alastair Cook broke a record by playing in his 154th straight test match in this sport. cricket. 4: Averaging 41.6 yards for each time he took the field, Jeff Feagles played in 352 straight NFL games at this position. punter. 5: Called the NBA's Iron Man, A.C. Green played 1,192 consecutive games and also collected 3 championship rings with this team. the L.A. Lakers. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

A chronicle of country music legend Johnny Cash's life, from his early days on an Arkansas cotton farm to his rise to fame with Sun Records in Memphis, where he recorded alongside Elvis Presley, Jerry Lee Lewis, and Carl Perkins.Alec talks his fears around Biopics and the ridiculousness of Joaquin Phoenix. JJ talks his love of Cash and how modern music is lacking.Support us:https://www.patreon.com/whatsourverdictEmail us: hosts@whatsourverdict.comFollow us:Facebook: https://www.facebook.com/whatsourverdictTwitter: @whatsourverdictInstagram: @whatsourverdictYouTube: https://youtube.com/channel/UC-K_E-ofs3b85BnoU4R6liAVisit us:www.whatsourverdict.com

This week's show, after a 1967 Hollies hearken: brand new The Beatles, New Model Army, Madness, Cloud Nothings, Semisonic, Guest Directors, and Green Palm Radiation, plus John Lennon, 13th Floor Elevators, Jerry Lee Lewis, Hank Snow, David Bowie, The E...

Author, journalist, music critic Jim Sullivan joined us about his new book "Backstage & Beyond Vol. 2: 45 Years of Classic Rock Chats & Rants. This is a follow up to his volume 1 edition. The difference between the two comes down to a split between eras. Volume 1 covers Classic Rock from the '50s and 60s. Vol 2 picks up where that one leaves off covering the '70s '80s and '90s. Twenty-one of them are in the Rock and Roll Hall of Fame.Jim Sullivan — a 2023 inductee into the New England Music Hall of Fame — spent 26 years writing for the Boston Globe and two decades more writing for national publications. He has interviewed and reviewed countless musicians, many of them multiple times. Access to such A-list stars is hard to come by in the first place, but Sullivan got to know many of them well enough to engage on a far more intimate level than journalists usually can or do.Rather than simply collect up previously published articles as they originally appeared, Sullivan combed through his archive to find everything he wrote about each artist and worked them together into a more expansive time-passages view that chronicles their changing situations, outlooks and experiences. Backstage & Beyond Volume 1 includes fascinating, entertaining and occasionally hair-raising profiles of Jerry Lee Lewis, Ian Hunter & Mott the Hoople, David Bowie, Iggy Pop, Lou Reed, Nico, Brian Eno, Bryan Ferry & Roxy Music, Robert Fripp & King Crimson, Peter Gabriel, Warren Zevon, Pete Townshend, Ray Davies & the Kinks, Dave Davies, Ginger Baker, Leonard Cohen, Marianne Faithfull, John Fogerty, Tina Turner, Neil Young, Richard Thompson, Darlene Love, Alice Cooper, Peter Wolf & the J. Geils Band, Joe Perry & Aerosmith, Lemmy & Motörhead, George Clinton, Tangerine Dream, Joan Baez, k.d lang and Roy Orbison. Backstage & Beyond Volume 2, his music-writing anthology, focuses on artists who came to prominence in the 1970s and '80s: punk, new wave, post-punk and beyond. Eleven of them are already in the Rock and Roll Hall of Fame.Chapters on: The Ramones, The Sex Pistols / Public Image Ltd., The Clash, Patti Smith, Buzzcocks, The Damned, The Fall, Joy Division / New Order, The Cure, Stiff Little Fingers, Gang of Four, The Pogues, The Police, The Cramps, David Byrne / Talking Heads, Beastie Boys, Elvis Costello, Billy Bragg, The Cars, English Beat, Morrissey, Pixies, Mission of Burma, Feelies, Puff Daddy, Spiritualized, Frankie Goes to Hollywood, Swans and U2.For more information about the Musicians and Beyond Podcast with hosts Mark Lawhorne and John Surabian visit ⁠www.musiciansandbeyond.com⁠. IG: @musiciansandbeyondFB: @musiciansandbeyondX: @MusiciansBeyondYouTube: ⁠ @musiciansandbeyond ⁠ Email: musiciansbeyond@gmail.comIf you would like to be a main sponsor our show or offer an item to be presented to our guests reach out to us at musiciansbeyond@gmail.com.Make sure you visit our friends at:Angle Tree Brewery - ⁠https://angletreebrew.com/ ⁠45 Elm Street North Attleborough, MADistillery 43 in Lakeville, MA is a local distillery that has small batch, hand crafted spirits (Blanco Agave and Spiced Rum) being sold in South Shore liquor stores and local restaurants.Connect with Jim Sullivan - Facebook - jimsullivanink - Twitter - jimsullivanink #musiciansandbeyond #LawhorneandSurabian #podcast #interview #boston #humorforhumanity #massachusetts #author #vodcast #conversationsthatmatter #jimsullivan #music #classicrock #davidbowie #loureed #behindthescenes #behindthemusic #author #books #newbook #bostonmusicscene #bostonmusic #backstageandbeyond #musicpodcast #Elviscostello #ramones #paradiserockclub  @paradiserockclub7470  @jimsullivanink --- Support this podcast: https://podcasters.spotify.com/pod/show/musiciansandbeyond/support

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

Jerry Lee Lewis has died since I first posted this podcast three years ago. I don't want to speak ill of the dead. So, I won't. But I've loved his music since I was a kid, still do, yet this was my less than pleasant encounter with the man in 1996

 | Misty Blue  | Dink's Blues (feat. Gina Coleman)  | Tell Me Who You Are-A Live Tribute To Odetta | Jan James  | Love Is the Answer  | Time Bomb  |   |  | Tyzack & Tortora  | Easy Money  | The Burnham Session  |  | J.J. Cale  | River Runs Deep  | Naturally  |   |   |  | Kyla Brox  | When We're Alone  | Live at Konitz Castle  |   |  | Johnny Maddox  | Memphis Blues  |  Dixieland Blues  |   |  | David Egan  | Blues How They Linger  | David Egan  |   |  | Kenny Wayne Shepherd  | Saturday Night's Alright For Fighting  | Dirt On My Diamonds Vol 1  |  | Charles -Cow Cow- Davenport  | Hobson City Stomp  | Complete Recorded Works, Vol. 2  (1929-1945) | Mike Stevens  | Ida Red  | Breathe in the World Breathe Out Music | Two Gospel Keys  | I Want My Crown  | Country Gospel 1946-1953  | Document Records  |  | Jerry Lee Lewis  | Chantilly Lace  | A Whole Lotta... Jerry Lee Lewis (CD3) | Elias T Hoth  | Long Live Rock'N Roll  | O Rhesus Negative  |   |  | Johnny Winter  | Long Tall Sally (With Leslie West)  | Step Back  |   |   | 

On Episode 142 of the RETROZEST podcast, Curtis continues the celebration the 45th Anniversary of the premiere of BATTLESTAR GALACTICA! This show is an American science fiction media franchise created by Glen A. Larson. It began with the original television series in 1978, and was followed by a short-run sequel series (Galactica 1980), a line of book adaptations, original novels, comic books, a board game, video games and a reboot series. Assisting Curtis in this endeavor with an exclusive interview is TIM CULBERTSON, a former stuntman & actor who served on BSG as a Cylon Centurion. Additionally, Tim appeared in films like Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan, Cheech and Chong's Next Movie, An Eye for an Eye and The Jerk; as well as TV shows like The Love Boat, WKRP in Cincinnati, Captain America (wherein he was a stunt double for Reb Brown) and Laverne & Shirley. In fact, speaking of Laverne & Shirley, his girlfriend for many years until her recent passing was Cindy Williams. At one point, he was also the tour manager for the late Jerry Lee Lewis., and was in a Schlitz Beer Commercial with Teri Garr. BTW, If you are looking for a cool BSG Uniform Shirt for a costume, please visit judysemporium.com. They have both Colonial Warrior (beige) and Colonial Officer (blue) replica shirts for less than $40! Incidentally, you may help the RetroZest podcast by purchasing a unique BATTLESTAR GALACTICA T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/bsg. Browse the entire store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

We're recasting Nate's 2019 interview with  Joe Bonomo about his book "Jerry Lee Lewis: Lost and Found." Buy the book and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Como manager de A.N.I.M.A.L. Alejandro Taranto fue uno de los primeros vínculos cercanos que establecí en esta aventura llamada rock'n'roll. Frecuentaba su oficina en el centro, donde entrevisté a Massacre por primera vez. Después supe que había trabajado con los Cadillacs, Jaf, los Guarros y tantos otros. Que al frente de su productora América Rock había traído a Sepultura, L.A. Guns, Dee Dee Ramone y a Jerry Lee Lewis. Dirigía el sello Tommy Gun. Produjo el concierto en la cárcel de Olmos en el que tocaron Hermética, Attaque 77, Massacre, A.N.I.M.A.L. y UK Subs. Pasados los 60 aún se considera un rebelde que viene a revelar, por ejemplo, qué fue lo que pasó en la intimidad de Andrés Giménez y Corvata. Hemos hablado de temas muy sensibles y ha contado muchas anécdotas picantes. Se enojó y me lo hizo saber. Confesó que tuvo contacto con el de arriba y que se produjo el milagro para permanecer otro rato aquí abajo. Se enojó y me lo hizo saber. Igual terminamos a los besos. Con Gustavo Olmedo.

Created and produced by Donnie Kehr, best known for his originated roles in Broadway's Jersey Boys and Billy Elliot, The Greatest Piano Men is an electrifying production that celebrates the world's greatest piano icons and showmen in music history - from the 50s and 60s hits of Little Richard, Jerry Lee Lewis, and Ray Charles to the 70s and 80s hits of Stevie Wonder, Elton John, and Billy Joel - and even the legendary works of Beethoven and Liberace. The Greatest Piano Men features Pete Peterkin - a singer, actor, dancer, comic, master impressionist, and multi-instrumentalist, best known for his appearance on Season 4 of “America's Got Talent,” Bill Conners - the gold standard when it comes to impersonating Sir Elton John, perfectly captures the voice, mannerisms, and fabulous showmanship of the rock icon, as well as David K. Maiocco - award-winning musical director, pianist, and actor, considered one of the most well recognized Liberace tribute artists.  This electrifying music celebration features a rockin' 8-piece band, sensational back-up vocalists, and captivating multimedia storytelling, as The Greatest Piano Men bring along 25 hit songs including, “Good Golly Miss Molly,” “Superstition,” “I'm Still Standing,” “Hit the Road Jack,” “New York State of Mind,” and many more! This episode features recordings from The Greatest Piano Men's 2022 performance at Big Top Chautauqua.       First broadcast in 1994, Tent Show Radio is a weekly one-hour radio program showcasing the best live recordings from acclaimed music acts and entertainers who grace the Big Top Chautauqua stage each summer in beautiful Bayfield, WI. In the program's nearly 30-year history it has featured artists like Johnny Cash, B.B King, Brandi Carlile, Willie Nelson, Don McLean, and many more. Hosted by celebrated New York Times best-selling author Michael Perry-who weaves stories and humor throughout each episode - Tent Show Radio features performances from renowned national & regional artists, with regular appearances featuring Big Top's own unique brand of shows that feature songs and stories performed by its acclaimed house band, The Blue Canvas Orchestra. Tent Show Radio is independently produced by Big Top Chautauqua, a non-profit performing arts organization, with a mission to present performances and events that celebrate history and the environment - along with their annual summer concert series - nestled in the woods on the shores of Lake Superior and the Apostle Islands.    EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Jaime Hansen - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2023 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/  Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/  Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism  The Bayfield Inn - https://bayfieldinn.com/  Cable Area Chamber of Commerce - https://www.cable4fun.com/  Washburn Area Chamber of Commerce - https://washburnchamber.com/ SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/ 

#944 - Allen Reynolds Returns Allen Reynolds Returns to The Paul Leslie Hour! Are you here? I'm here, but so are you! What a coincidence. Welcome to The Paul Leslie Hour. We've got something good for you, this was recorded during Paul's recent trip to Nashville. It's an in-person interview with legendary producer Allen Reynolds. Reynolds produced the first albums in the careers of Don Williams, Crystal Gayle and Garth Brooks. He's also an inductee in the Nashville Songwriters Hall of Fame. The songs of Allen Reynolds were recorded by Waylon Jennings, Johnny Cash, Emmylou Harris and Jerry Lee Lewis just to name, but a few. We want to thank you all for tuning in, but also all of you who support independent media. Just go right here, and give yourself and others the gift of stories. You make this show possible. What do you say we get this episode started? Let's listen. Together. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

Producer Christian Nesmith & Glenn Gretlund “7a Records” discuss the new release of Micky Dolenz ”Dolenz Sings R.E.M.”, a 4 track EP released on November 3rd. The EP is comprised of songs R.E.M. wrote throughout their career, all beautifully reimagined by Dolenz and producer Christian Nesmith.The EP features fresh and completely new arrangements of some of R.E.M.'s most memorable and catchy songs. As Dolenz says: “Once again, this EP reaffirms my long-held conviction that a solid recording always begins with solid material. You don't get much more solid than R.E.M. What a joy to sing these classics and honor a team of outstanding writers.” Links in show notes Originally aired 10/17/23"7a" can be found at https://www.7arecords.com/  Get Andrew's book here. Go to http://beatlandbooks.com/ "Join our Facebook page If you cannot see the audio controls, listen/download the audio file here Download (right click, save as)We are proud to announce "Dolenz Sings R.E.M.", a four-track EP by Micky Dolenz released on November 3rd. The EP is comprised of songs R.E.M. wrote throughout their career, all beautifully reimagined by Micky Dolenz and producer Christian Nesmith. You can order your copy on CD and 180g Yellow Vinyl now from the shops below, or get a signed copy straight from Micky at https://www.mickydolenz.com : U.S.A. CD & Vinyl: https://www.importcds.com/search?q=Dolenz+sings+rem&mod=AP United Kingdom: CD & Vinyl: https://www.amazon.co.uk/s?k=dolenz+sings+REM&crid=1PXI7IMU3O4X4&sprefix=dolenz+sings+rem%2Caps%2C75&ref=nb_sb_noss_1 Canada: CD: https://www.amazon.ca/Dolenz-Sings-R-M-Micky/dp/B0CHBBKR3D/ref=sr_1_1?crid=11BAQB6FXPSJB&keywords=Dolenz+sings+rem&qid=1694692833&sprefix=dolenz+sings+rem%2Caps%2C228&sr=8-1 Vinyl: https://www.amazon.ca/Dolenz-Sings-R-M-Yellow/dp/B0CHBD11JF/ref=tmm_vnl_swatch_0?_encoding=UTF8&qid=1694692833&sr=8-1 Japan: CD: https://www.amazon.co.jp/-/en/Micky-Dolenz/dp/B0CHBBKR3D/ref=sr_1_fkmr1_1?crid=2M1JUJ2TYVL01&keywords=dolens+sings+rem&qid=1694692920&sprefix=dolenz+sings+rem%2Caps%2C222&sr=8-1-fkmr1 Vinyl: https://www.amazon.co.jp/-/en/Micky-Dolenz/dp/B0CHBD11JF/ref=tmm_vnl_swatch_0?_encoding=UTF8&qid=1694692920&sr=8-1-fkmr1 Germany: CD: https://www.jpc.de/jpcng/poprock/detail/-/art/micky-dolenz-dolenz-sings-r-e-m/hnum/11593539 Vinyl: https://www.jpc.de/jpcng/poprock/detail/-/art/micky-dolenz-dolenz-sings-r-e-m/hnum/11593542 Scandinavia: CD: https://imusic.dk/music/5060209950600/micky-dolenz-2023-dolenz-sings-r-e-m-cd Vinyl: https://imusic.dk/music/5060209950617/micky-dolenz-2023-dolenz-sings-r-e-m-lp For all other territories, please see Amazon and all good record shops. Dolenz Sings R.E.M. The EP features fresh and completely new arrangements of some of R.E.M.'s most memorable and catchy songs. As Dolenz says: “Once again, this EP reaffirms my long-held conviction that a solid recording always begins with solid material. You don't get much more solid than R.E.M. What a joy to sing these classics and honor a team of outstanding writers.” 7A Records' CEO Glenn Gretlund adds: “R.E.M. and Micky Dolenz are a match made in heaven and I'm delighted with how the recordings have turned out. Micky's voice sounds better than ever and Christian Nesmith has done a wonderful job in reimagining the arrangements.” The EP is released on 180g Yellow Vinyl, CD and on all Digital platforms on November 3rd. New Book - "I'm Told I Had A Good Time" The EP release directly coincides with the publication of Micky Dolenz's latest book: I'm Told I Had Good Time – The Micky Dolenz Archives, Volume One. Comprised of more than 1200 rare and unpublished images from Micky's private collection, this 500-page book includes photos and memorabilia spanning 1945-1978, including hundreds of images Micky shot himself of the other Monkees (Davy Jones, Peter Tork and Michael Nesmith) as well as Jimi Hendrix, Harry Nilsson, Otis Redding, Little Richard, Jerry Lee Lewis, Alice Cooper and many more. The book (available in three distinct editions) can be preordered now from https://Beatlandbooks.com "Shiny Happy People" Digital Single  The digital single from the E.P, “Shiny Happy People”,  is available to download and stream from all major digital platforms now. You can watch the music video here:  https://www.youtube.com/watch?v=NKSRntMvqMQ  R.E.M. Reactions to the EP: “These songs are ABSOLUTELY INCREDIBLE. Micky Dolenz covering R.E.M. Monkees style; I have died and gone to heaven. This is really something. Shiny Happy People sounds INCREDIBLE (never thought you or I would hear me say that!!!). Give it a spin. It's wild. And produced by Christian Nesmith (son of Michael Nesmith), I am finally complete”.                                                 Michael Stipe "That voice---one of the main voices of my musical awakening---singing our songs... it is beyond awesome. Let's help make this as huge as we possibly can. I am beyond thrilled."                                                 Mike Mills "I've been listening to Micky's singing since I was nine years old.  It's unreal to hear that very voice, adding new depth to songs we've written ourselves, and inhabiting them so completely."                                                 Peter Buck "I am blown away!  Micky and Christian just take these tracks to unexpected places”.                                                 Scott McCaughey Availability Dolenz Sings R.E.M.  is released November 3rd worldwide. It's available to pre-order now on 12” 180g Yellow Vinyl, CD and Digital Platforms, through all good online retailers and local record stores. Fans can also order signed copies through Micky Dolenz's own shop: mickydolenz.com   We were born to love one another. Support Zilch, get a cool shirt! www.redbubble.com/people/designsbyken/works/12348740-zilch-podcast?c=314383-monkees-inspired-art

257. It's time for America's greatest rockabilly radio program! Crank it up loud cause there's a whole lotta the finest vintage & modern day rockin' sounds shakin' on "Go Kat, GO! The Rock-A-Billy Show!" -brought to you by 2023 & 2024 Ameripolitan BEST DJ nominee, the 'Aztec Werewolf,' DJ Del Villarreal! It's a killer-diller program with a healthy assortment of HOT new tunes from Brian Setzer, The Katmen, The Same Old Shoes, Mozzy Dee, The McCharmlys, Eddie Clendening, Omar Romero, The Low Life Drifters, Geoff & The Rockin' Two, Jack Rabbit Slim, The Rock-A-Sonics & more! We'll turn your hair all shades of white with some pre-Spook-A-Billy toons, too...  Enjoy the debut of Chile's Frank Jacket getting a proper debut for his new LP "Endless Sleep & Other Not So Tragic Or Aquatic Tunes" on Mula Records! Bop with a boisterous batch of brilliant vintage cuts from the likes of Huelyn Duvall, Gene Vincent, Moon Mullican, Sparkle Moore, Benny Hewitt, Charlie Rich, The Everly Brothers and even Jerry Lee Lewis to drop just a few big names! Only the best for the greatest fans in the world -here on "Go Kat, GO!"Please follow on FaceBook, Instagram & Twitter!

Billy Don Burns is an Outlaw Country legend. Born and raised in Arkansas, he has crisscrossed the country repeatedly over the years. He just got back from Ireland, and he has a new album out, I've Seen a Lot of Highway, which chronicles decades of heavy touring and drugging, drinking, and "kicking ass." A survivor of bad bar fights, an 18 month prison stretch, and six marriages, he turned 74 this year. Has he changed from the hellraiser he once was? You decide. Along the way, Billy Don talks about working with Shooter Jennings and the late Mack Vickery as well as encounters with Waylon Jennings and Jerry Lee Lewis. You can buy the album here: https://found.ee/bdbhighway To check out tour dates, BDB merch, and other music: https://www.billydonburns.net/      

Singles Going Around- Back To Mono Volume 4Mono records-recorded in mono, transferred in mono. Play LOUD.The Byrds- "Mr Spaceman"Pink Floyd- "Astronomy Domine"Chris Kenner- "Something You Got"Cream- "I Feel Free"The Rolling Stones- "Sympathy For The Devil"Bob Dylan- "Leopard Skin Pill Box Hat"The Beatles- "Norwegian Wood"Paul Revere & The Raiders- "The Great Airplane Strike"The Beach Boys- "Here Comes The Night"The Doors- "Break On Through"The Byrds- "The World Turns All Around Her"Chris Kenner- "Land Of 1000 Dances"The Rolling Stones- "Street Fighting Man"Pink Floyd- "Lucifer Sam"Bob Dylan- "Absolutely Sweet Marie"Dale Hawkins- "Suzie Q"Jerry Lee Lewis- "Great Balls Of Fire"Link Wray- "Rumble"Barret Strong- "Money"*All selections from the original records.

The Milwaukee Brewers are National League Central champions and drew the Arizona Diamondbacks in the first round of the MLB playoffs. What do we need to know about Arizona and its 1-2 starting-pitching punch? Milwaukee Journal Sentinel reporter Curt Hogg and host JR Radcliffe talk about the notable similarities between the two teams, the playoff roster, the future of Craig Counsell (especially with the Mets managerial job opening), a magical final week that included a champagne celebration and The Caleb Boushley Game. Then, JR is joined by bullpen coach Jim Henderson (1:05:00), a former Brewers closer himself who has overseen an impressive unit this season. Music intro: https://www.bensound.com/royalty-free-music. Music clips:  "ABC" by Jackson 5, "Red Hot Memories (Ice Cold Beer)" by Jerry Lee Lewis, "Pursuit Music Logo" on SoundCloud and Bob Uecker on WTMJ 620-AM radio.

On the September 29 edition of Music History Today, Kurtis Blow makes history, & MTV introduces grunge to the mainstream. Plus, it's Jerry Lee Lewis's birthday. ALL MY MUSIC HISTORY TODAY PODCAST LINKS - https://allmylinks.com/musichistorytoday CHECK OUT MY OTHER PODCAST, THE MUSIC HALLS OF FAME PODCAST: LINKS - https://allmylinks.com/musichallsoffamepodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

National coffee day. Entertainment from 2013. Worlds first modern police force went on duty, answering machine invented, Worlds 1st billionaire. Todays birthdays - Gene Autry, Jerry Lee Lewis, Larry Linville, Jon Minnoch, Madeline Kahn, Mark Farner, Cindy Morgan, Andrew Dice Clay, Halsey. Helen Reddy Died.Intro - Pour some sugar on me - Def Leppard https://www.defleppard.com/The coffe song - Frank SinatraWrecking ball - Miley CyrusThats my kind of night - Luke BryanBirthdays - In da club - 50 Cent http://50cent.com/Back in the saddle again - Gene AutryGreat balls of fire - Jerry Lee LewisMASH TV themeAmerican band - Grand Funk RailroadNightmare - HalseyI am woman - Helen ReddyExit - It's not love - Dokken http://dokken.net/https://www.coolcasts.cooolmedia.com/show/history-factoids-about-today/

#936 - Bob Vernon The Bob Vernon Interview is featured on The Paul Leslie Hour. Are you here? If you're here listening to The Paul Leslie Hour, let me just state for the record that although our show is light-hearted, we don't take YOU being here lightly at all. We have an interview from the archives. This was your host Paul Edward Leslie's very first interview with Bob Vernon. Bob Vernon was a legend in the world of Louisianan music. In Louisiana, Bob was what they call a “hall of famer.” He was born in 1947 in Louisiana in and passed away in 2020. It's believed Bob passed away in California. Bob Vernon began his journey into music with the drums. He produced and engineered the recordings of artists like Elvis Presley, Fats Domino, Jerry Lee Lewis, James Brown, Hank Williams Jr., Sam and Dave, Ray Charles, Paul Shaffer and the Neville Brothers. Vernon helped found the Louisiana Music Association and also served as manager of the legendary Fats Domino from 1983- 1990. A brilliant speaker with the gift of storytelling, Bob Vernon joined Paul for an interview. It was the beginning of a friendship that continued until his passing. If you enjoy this interview, you can also find the Mardi Gras-themed interview Bob did on this show. We ask that you consider subscribing to Paul Leslie's YouTube channel. And if you get a moment hit the “like” button and leave a comment down below. We have lots more content coming your way. And we thank you. Let's hear the tape. Bob Vernon, you are missed sir.

The U.S. government may shut down starting Oct. 1. Financial analyst Paul Hare shares his thoughts on the likely scenario developing on Capitol Hill. A Canadian is saying not so nice things about the South. There are several new films hitting the box office as October arrives Sunday. Also, we salute Jerry Lee Lewis on what would have been his 88th birthday with the playing of his 1977 hit "Middle Age Crazy."

GDP Script/ Top Stories for Sept 29th Publish Date:  Sept 28th From the Henssler Financial Studio Welcome to the Gwinnett Daily Post Podcast Today is Friday, September 29th, and happy heavenly birthday to musician Jerry Lee Lewis. ****JERRY LEE LEWIS - WHOLE LOTTA SHAKIN' **** I'm Bruce Jenkins and here are your top stories presented by Peggy Slappey Properties. Driver charged in Labor Day crash in Gwinnett that killed 5 teens Celebrity Softball Showdown first event for Gwinnett Chamber Foundation Renowned Korean Children's Choir visits Greater Atlanta Christian School Plus, Bruce Jenkins City of Lawrenceville event coordinator Milo Sather. All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe!  Break 1 : Slappey          Story 1: Driver charged in Labor Day crash in Gwinnett that killed 5 teens   The driver involved in a tragic Labor Day crash in Gwinnett County that resulted in the deaths of five teenagers has been charged. Emanuel Rene Esfahani, 20, of Lawrenceville, has been charged with five felony counts of homicide by vehicle in the first degree, along with other charges including reckless driving and racing on highways. The crash occurred when Esfahani, driving an Infiniti G35, was racing another vehicle on an exit ramp at speeds exceeding 100 mph. The Infiniti swerved to avoid a box truck, leading to a collision with the other vehicle, a Toyota Tacoma, causing it to roll over and fall from the ramp. Tragically, five teens lost their lives in the incident......…..read more at gwinnettdailypost.com STORY 2: Celebrity Softball Showdown first event for Gwinnett Chamber Foundation   The Gwinnett Chamber Foundation is hosting its inaugural event, the Celebrity Softball Showdown, at Coolray Field in Lawrenceville. The foundation, established this year, aims to support local businesses owned by veterans, women, and minorities. The event will feature a softball game with over two dozen celebrities, entertainment, food trucks, a car show, a postgame concert by country artist Ricky Lee, and the ceremonial first pitch by Gwinnett Commission Chairwoman Nicole Love Hendrickson. Proceeds from the game will be used to provide grant money for underserved small local companies in Gwinnett County.   STORY 3: Renowned Korean Children's Choir visits Greater Atlanta Christian School The Greater Atlanta Christian School hosted the Far East Broadcasting Company Korean Christian Children's Choir, a prestigious group of 40 talented young performers aged 7-13. The choir, known for its international Christian unity message, delivered a heartwarming performance featuring colorful costumes and traditional Korean dance. They expressed gratitude to the United States Military and missionaries for introducing Christianity. The visit aimed to strengthen the global connection among Christians and promote cultural exchange and camaraderie. The choir will tour five states and 20 cities in the United States, with plans to return annually to GAC. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We'll be right back   Break 2:   M.O.G. – Tom Wages - Obits – Cumming Fair             STORY 4: Goodwill Career Centers celebrates grand reopening of Duluth facility   Goodwill of North Georgia's Pleasant Hill Career Center in Duluth has celebrated its grand reopening. The renovated facility, now spanning 9,295 square feet, offers updated technology to support in-person and virtual training programs. Goodwill Career Centers, with 14 locations in North Georgia, provide free training, job placement, case management, work support, and paid internships to community members. Graduates have secured employment with major companies such as Amazon, Kroger, Delta Airlines, and the Georgia Department of Transportation. The Pleasant Hill Career Center offers training in forklift operation, hospitality, medical administrative assisting, phlebotomy, and more, with an annual expectation of serving 1,200 individuals.   STORY 5: Harvest Fest set to return to Lawrenceville Nov. 4   The city of Lawrenceville is hosting its annual Harvest Fest on November 4 at the Lawrenceville Lawn. The festival will feature performances by up-and-coming musical artists, including headliner Hannah Dasher, Them Vibes, Seryn, and the Band Loula. In addition to music, the event will offer festive activities, a farmer's market with local artisans, and various food vendors. Hannah Dasher, known as "Nashville's best-kept secret," is celebrated for her fresh take on classic country music. The festival is sponsored by several companies, and sponsorships start at $500. The free festival runs from noon to 6 p.m.   We'll be back in a moment   Break 3:  ESOG – Ingles 3 – Lawrenceville Events   STORY 6: MILO SATHER   And now here is Bruce Jenkins conversation with City of Lawrenceville event coordinator Milo Sather.   STORY 7: MILO SATHER INTERVIEW   We'll have final thoughts after this.   Break 4: Henssler 60 Thanks again for hanging out with us on today's Gwinnett Daily Post podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, the Community Podcast for Rockdale Newton and Morgan Counties, or the Paulding County News Podcast. Read more about all our stories, and get other great content at Gwinnettdailypost.com. Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. www.wagesfuneralhome.com  www.psponline.com  www.mallofgeorgiachryslerdodgejeep.com  www.esogrepair.com  www.henssler.com  www.ingles-markets.com  www.downtownlawrencevillega.com  www.gcpsk12.org  www.cummingfair.net www.disneyonice.com www.downtownlawrencevillega.comSee omnystudio.com/listener for privacy information.

Pamela Ziegenhagen-Shefland of Minnetonka, Minn., is an animation features editor and textile artist. Recently, she made the trip to the Owatonna Center for the Arts, where she marveled at the multi-sensory, interactive installation that is “Legacy Dream Space.” The exhibit was created by composer Craig Harris and visual artist Candy Kuehn, in collaboration with Kym Longhi and Jim Peitzman. Photographs line the walls, as do scrims, which are overlaid with video of exhibit visitors. Two play spaces invite visitors to interact with the exhibit by pressing buttons to hear spoken words or write their own words that appear on the scrims.Harris's original piano composition complements the experience. Taken together, the exhibit explores our hopes for the future and the legacy we leave behind. “There's things for everyone to enjoy,” says Ziegenhagen-Shefland. “It just made me feel really hopeful that the arts in this state and in this community are just so vibrant and exciting and explorative because it's not just the normal kind of going to a gallery show.” The show runs through Oct. 15, with an artist event scheduled on Oct. 8 from 1-4 p.m. Jaime Davis of Minneapolis says her current theater obsession is with the musical “Million Dollar Quartet,” currently playing at the Old Log Theatre in Greenwood, Minn. in the west metro. The show captures a real moment in musical history: the 1956 jam session of Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley at Sun Records Studio in Memphis, Tenn. Directed by Christine O'Grady Roberts and featuring all local talent, the show is packed with hit songs that Davis says have the audience tapping their toes and singing along. The actors' voices and their high-energy performances are “phenomenal,” Davis says. If you attend the Thursday or Sunday matinee, she recommends getting brunch beforehand at the theater's restaurant. “Million Dollar Quartet” runs Thursday through Sunday through Feb. 17. Janet Anderson recently moved to St. Peter, Minn., and she's been enjoying discovering the local arts scene. One exhibit that captured her imagination has been Eric Ouren's textile figures on the wall of The Smallest Cog Bike Shop. It's a small show with about 10 pieces, but each one is intricately detailed and rewards close attention. The figures, which are about a foot tall, have stitched shoes and handmade clothing, and their faces are stitched with multiple colors of thread that reminded Anderson of an impressionist painter's brushstrokes. Many of the figures are mounted in elaborate frames that resemble wooden furniture. “There's a folk quality to the pieces,” says Anderson, “as if they were figures whittled out of wood, but they're made of textiles.” Ouren's show is viewable on Fridays, Saturdays and Sundays through Oct. 7. 

The man-myth-legend Wayne Federman is back to pour over the priceless 1993 rock compilation All Killer No Filler! The Jerry Lee Lewis Anthology. Follow Wayne on Instagram: https://www.instagram.com/instafederman/ Follow Wayne on Twitter: https://twitter.com/federman Check out Wayne's website: http://www.waynefederman.com/ Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show website: http://the500podcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Milwaukee Brewers are headed to the playoffs in 2023, though that division title still remains a little bit elusive. Milwaukee Journal Sentinel writers Curt Hogg and JR Radcliffe look at an eventful week with some great offensive performance (but also some hiccups). What's up lately with Joel Payamps? Will the team carry Rowdy Tellez into the postseason? Tyrone Taylor just keeps cruising. Is there any level of concern with the outings by Brandon Woodruff and Freddy Peralta in Miami? Do the Brewers really want to avoid the Cubs in the first round? Three Up/Three Down (37:30) looks at a strange vibe in St. Louis, some outfield adventures and, of course, Tellez pitching to seal up a postseason clinch. Remembrew When (52:45) goes back in time to a streak that will make Brian Anderson's absence from the field look like nothing at all. In Curt Blanche (59:45), Curt advocates for a roster move that will surprise you. Then, JR sits down with Journal Sentinel business reporter Tom Daykin (1:08:30) to look at the newest updates around American Family Field stadium financing, including a new plan that would ask for $600 million from taxpayers. Why the massive increase, and just what is this money going to do? Can the city and county be compelled to contribute? How does this compare to other stadium situations? Is a "beer district" the answer? Music intro: https://www.bensound.com/royalty-free-music. Music clips:  "ABC" by Jackson 5, "Red Hot Memories (Ice Cold Beer)" by Jerry Lee Lewis, "Pursuit Music Logo" on SoundCloud and Bob Uecker on WTMJ 620-AM radio.

Thu Oct 14, 1976. Michael's birthday. Went to see him for his birthday and watched TV; stayed about an hour because Mike had to do his homework. Judy's baby has been so sick so Gwen didn't plan a party. Still run their A/C a lot. Michael wanted one of these "gagger cameras." Sissy wanted earrings and one of those ovens that Jay had (EasyBake Oven). Helen Mae and Clarence worry more than they've ever had and that "dern old truck." Went to see Daryl Bubrig and Bobby Lonely to see if they have to pay insurance on this truck. Aggravates her so much. $263 for late charges and now it's $270.95. Not about to pay that. Not any sense in giving them that money for nothing. Bank, PawPaw and Bubrig said she needs to pay it but MawMaw refuses and they can haul her off to jail; she doesn't care. Clarence tells his side of the story and expresses just as much frustration. Helen and Jerolyn ran into the Shackelfords (Don and Barbara). Kidney issues for someone and MawMaw going to stop and go cry over the $270. "Aggavated so much." Helen Mae didn't want to rent to anyone with dogs where they even let the dogs sleep in the bed and MawMaw hates that. Gotta start riding her bike again. Scarabins have been doing really good with shrimping. Lillian Scarabin's son Johnny got a new black with red trim Ford truck. Put new molding around their "winders." "Art" not to tell this part (removed). Never heard back from the bank and "Daddy ought to call Bobby Lonely." Worst she's felt in a long time. Hates to pay the $270.95. "just highway robbery when you have to pay something you don't want." Larry took half a day off to please his wife (Wendy) and they went shopping. Gail stopped by on her way to the store and asked MawMaw if she wanted to go but MawMaw didn't want to go. Uncle Nicky came by and said his heart was hurting. Used to go to Dr. Wessener but Nicky wouldn't listen to the doctor. Dr. Wessener told him not to come back so now Nicky has no doctor. Theresa is always gone with the Home Demonstration Club and Uncle Nicky is left alone too often. Music (Kiss and Say Goodbye, The Manhattans- removed). Brought Gail's vacuum cleaner to get it fixed which would cost $30- too much so they got a sweeper for $39. Evans bought a deep freezer for $329. Supposed to pay it from Billy's bus driving money. Soap Opera in the trailer park (removed). She and Aunt Gail Portie eating grapes. Radio finishes tape out (Let's put it back together again, Jerry Lee Lewis-removed). --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason-scarabin/message

Gamers know the longtime PlayStation racing series Gran Turismo. The story of Jann Mardenborough, who turned a passion for the game into a career racing real cars was brought to theaters this summer in the film "Gran Turismo." But how closely do these films stick to reality? There's a reason why many include a disclaimer at the start that some characters and stories have been changed or dramatized. We talk about the recently completed HBO series "Winning Time: The Rise of the Lakers Dynasty," which has been criticized by some portrayed on the show. The there is the 1989 film "Great Balls of Fire!" starring Dennis Quaid as Jerry Lee Lewis. A lot of people were critical of the film, but co-host Bruce Miller interviewed Lewis and says the singer loved Quaid's performance.. What about movies like "Elvis" and the upcoming film "Priscilla," which both had the involvement of Priscilla Presley? Or the music biopic that largely led to the modern music biopics, Oliver Stone's "The Doors," which was criticized by the surviving members of the band? Even documentaries have been known to stray a little, such as the Oscar-winning "Searching for the Sugar Man" based on the life of Sixto Rodriguez. The film failed to mention the singer had modest success in Australia, so he wasn't a complete unknown.  We take a deep dive into true stories that have been turned into movies and even have an interview with Mardenborough, who was involved with the film. He also talks about his involvement with actor Archie Madekwe, who played Mardenborough. Where to watch "Gran Turismo" in theaters "Winning Time: The Rise of the Lakers Dynasty" on Max Contact us! We want to hear from you! Email questions to podcasts@lee.net and we'll answer your question on a future episode! About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Adobe Premiere and may contain misspellings and other inaccuracies as it was generated automatically: Welcome everyone to another episode of Streamed & Screened an entertainment podcast about movies and TV from Lee Enterprises. I'm Terry Lipshetz, a senior producer at Lee and co-host of the program with Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. But first, an important disclaimer: The views and opinions expressed in this podcast are a fusion of professional critiques and passionate fandom. While Bruce's experience and my dedication to the couch may suggest an odd pairing, it's what makes this podcast a delightful mix of the expected and the unexpected. Listener discretion is advised and an important addendum to that. Bruce. No animals were harmed during the recording of this episode. Where did you get that? ChatGPT. Is this the future in the film? It wrote a lot more than that. First of all, we're out of jobs. That's what happens if everything's good, right? Man, I was thinking, you know, we were talking about this episode a week ago, and I said, you know, might be fun to have a disclaimer. And I'm sitting there like, What kind of disclaimer would we have for us? A We can say whatever. Exactly. Exactly. Yeah. And not be. Can I tell you, I always I hate this when somebody gets a bad review. And what do critics know? You know, why or who are critics? Well, a critic is somebody who probably watches a lot of what you do and has an idea about what is good and what isn't good. And so listen to them. But I've always said to them, anybody who pays money for something is a critic and is entitled to an opinion. So have at it. Absolutely. And you know what? I think it's like anything else where maybe, you know, you're a critic, you're doing it professionally, but you're still you're still a human being that needs to entertain yourself and something's good or something is bad. I mean, it is what it is. And I think you do need to be a fan to be a critic. Otherwise, if you hated the medium that you were were criticizing, you wouldn't do it, right. So there is that moment. But I you know, there are those who are like, greasy. They're a little over the top with the oh, my God, it's the greatest thing ever. I how many times have you read quotes from some movie ad that says this is the best thing since Gone with the Wind or, you know, and you got really I don't think it was or truth should be this great, You know? I mean, it's like, what are you saying? Right. But those are the things that you find. And they're quotable. Yeah. That they try to a lot of those when you look at reviews that are polled or quoted, those are written to get quoted because the critic who is saying, I can't believe movies have gotten this good wants to get his name in the ad. So then it helps boost his position as a critic and helps get the name out about the publication. So this podcast. Incredible. Four stars. I think the one nice thing though about the modern criticism in in any form, whether it's music or TV or movies or whatever you're following, the Internet has opened up all new avenues, right? Because in in the old days, you know, you might pick up your your Shoe City Journal and you would just have Bruce Miller, the one telling you or if you're in Chicago, you might have Siskel and Ebert or wherever you might be, you just have that local voice. But now you can go to Rotten Tomatoes where it's picking up the aggregate and and, you know, sure, the folks in the industry might not want to hear what a critic has to say, But when you go to like a Rotten tomatoes and you've got 300 critics saying your movie's terrible, yeah, it's probably it's probably stinky. It probably is not good. Well, that's really encouraging, isn't it? Is that. But it goes the other way, too, where if you actually want your critics to love it and it's, you know, certified Fresh by Rotten Tomatoes. Yeah, right. That's great. And then you get the weird ones where, you know, the critics will love it and then the fans dog on it or vice versa. And then you just bang your head on the wall and don't know what to do. The ultimately you are your best critic. Absolutely. Absolutely. Did we offend anybody in the process of that? And did we and or whatever our disclaimer said, I don't know. All I know is no animals have been harmed in the filming of this episode. So we're good. We're good. You know, we're we're going to talk about something that I think is just very fascinating. Do you know how many years in the Academy Awards have not had an actor nominee who is based on an actual person? Well, I'm eight years out of I think it's 90 some 95 years have not. How many? I'm just going it's like three. Eight, eight. Wow. Years. And look at last year we had Elvis. We had Marilyn Monroe. The famous ones could be considered beasts or, you know, sort of. Yeah. So there are those So that's it's a sure way to an Oscar is to play somebody who actually exists. Yeah. And there were the most the most at 12 in 2018. Isn't that unbelievable. It's crazy. We're just grabbing anything. We can throw it up on the screens. It's based in fact, you know, So that's a surprise to me. But it's it is sure content. You will know that there is some story to base it on. We saw now recently with the blindside, where Michael Oher is just kind of like now, this is not this isn't what I remember. So he's trying to speak against this as the ultimate. And it's never, never, ever, ever in the history of filmmaking is a film, an absolutely accurate depiction of what happened. Right. Because it's not a document, right? It's not a documentary. Even that with documentaries, Right. You can't trust them. No. I remember I This tells you how far back we go. Okay. I did a master's thesis on the validity of critics. It's like, do critics make a difference? Is basically the thesis that I did. And we looked back and there was like, this sliver of time when actually critics would have any kind of impact on the audience. And what it was was in those days they were showing what like people were like Eskimos were like. And people had never seen Eskimos. So they believed exactly what they saw on the screen and said that is exactly the way it is, even though it may not have been so. And it was just a very sliver of time that critics could have some kind of impact on what people saw after that don't make a difference at all. People just kind of watch something and. Yeah, and you see that even now with like Netflix where movies that bomb at the box office. But all of a sudden we'll get they'll be trending on Netflix. You'll see like, you know what's that most popular and it'll be some movie from seven years ago that nobody went to see all of a sudden gets hot because it's just people for some whatever reason now algorithm and then it catches fire. Yeah, well look at Green book. Green Book won Best picture the Red critics were, like, kind of lukewarm on it as a as a movie movie. And the people who were related to the man portrayed said it isn't his life. This isn't all at all what it was like. Right. But it played well because it kind of touched those heartstrings that we were looking to touch. And so they made do something to you emotionally, but they may not do it realistically. Yeah. And, you know, you talk about these dramatization scenes, but it's even in documentaries, the storytelling can be twisted in a way to help tell a narrative and one that I wanted to bring up because the person that was featured in it just died recently. Sixto Rodriguez, who was a musician out of Detroit, he released two albums and they didn't they didn't do very well commercially, and he got dropped by his label and he kind of fell into obscurity. And he got popular in South Africa during apartheid when when the the country was basically cut off from civilized nation. There is no Internet at the time, so there's no way of researching. And this mythology was built about the sugar man and this documentary, Searching for the Sugar Man. It won an Oscar for best Documentary. But even in that case, it's failed to mention that he had like these small pockets of international fame. It wasn't you know, he never achieved some level of glory and made tons and tons of money. But in the late seventies, early eighties, Rodriguez was actually touring in Australia. And and that was before they discovered, you know, he was alive in South Africa. So even in that case where you have a story, which is it's a documentary, it's interviewing the real person, there's no actors involved. It's supposed to be reality. They kind of fudged with reality a little bit just to tell the story of, you know, here is this person that's completely obscure, even though in Australia they knew exactly who he was because he had been there a few times there. Yeah, it's well, look at the the film that's leading the way this year for best picture. Oppenheimer Right now that looks about as clean as you can get, except for some of those scenes that are kind of done in the mind, if you will. But it's it's the artistry of the director, you know, so you're not getting the story. And we've got other ones coming this year. We we had air which was about right the Michael Jordan selling of Nike Napoleon is coming up. Ferrari is coming up. Priscilla, about Elvis Presley's wife. You know, so there are the and the killers of the flower moon, what you're waiting for, right? Right. Not all these are based, in fact, for some reason. And it's a jumping off point is what it amounts to. Reality becomes a starting point, but not necessarily an end point. Right. And we saw this also in another in a series on HBO that just wrapped this past weekend, you know, winning time. Right. Which looked at the the the rise of the Lakers dynasty in Los Angeles. And a year ago, there was a lot of controversy after season one. Jerry West, who is portrayed in it was very unhappy with his portrayal in the show and you know is basically making him look like this crazed lunatic. And he's not true and he wasn't like it. And and then season two comes along and, you know, of course, they're opening it up with this disclaimer that this is a dramatization. Some of the characters have been changed. And what I found myself doing through the that every single episode that I watched, something would happen. And I was immediately on my phone. Looking, is. It is this part, you know, because one of the things near the end was this lawsuit by, you know, a wife of Dr. Jerry Buss, who's trying to take the team from him. It's like, well, you know, who is this person? And I'm I'm kind of Googling it and person's not really a real person. It's sort of a fictional ization of another person. And so it's those little things like that that they're introducing. But on the flip side, you know, you have Jerry West, who was very unhappy with it, but I read in I think it was in Vulture, they were talking to the to the folks behind the series and they said they showed the episodes to Jeanie Buss, Jerry Buss daughter, who's portrayed in it. And she loved the series and she felt a connection to her father again, who had passed away a number of years ago. So she really enjoyed watching the show because it kind of, you know, rekindled those memories of of kind of growing up in that time. So it's I guess, you know, how you're being portrayed and in what way and and whatnot. But, you know, that that was kind of an interesting one from that perspective. We have this year weird about Weird Al Yankovic, and it's so off the beam. It's not at all what his life was like. He was participating in it. So he, if you will, signed off on it right? Elvis had Priscilla as kind of their guide or through it all, all of this, and it was nominated for best Picture last year. You know, now this year, Priscilla is probably going to be nominated and Priscilla is talking. So she's rewriting the narrative of Elvis Presley just by what she'll allow or what she won't allow in the story. So that's interesting. But there are duds. There are duds that didn't really work. You know, Can you think of movies where you thought, Oh, my God, that's just terrible, that one. That one doesn't cut it. And I think one that people always mention is John Travolta as Gotti. Oh, that was a real stinker. It was so bad. Yeah. Ashton Kutcher as Steve Jobs. Yeah, not much there. Michael was his John Belushi and Wired. Well, now somebody didn't like Jerry Lee Lewis portrayed by Dennis Quaid in Great Balls of Fire. But I got to tell you, I interviewed Jerry Lee Lewis about this and he loved it. He thought he captured every bit of him. So, you know, it's all perspective. If it's my life, you know, come on, Brad Pitt, I'm telling you that right now. Right. And there's no way that I am remotely in the same ballpark as Brad Pitt, But they get a chance to kind of rewrite their own history by having control over who plays them. Yeah, you have play you would you pick and you know better. You're not going to say, oh, I'm going to take you know, I don't even want to name names, but you're going to pick. So you see, George Clooney is going to play me. Of course. It would probably be Clooney. I you're right. Right? Yeah. Either yeah. These a older. Clooney were there. You know, you mentioned Brad Pitt. He was on day of the last season, the day of portraying himself. But it was it was a fictionalized version of himself. And that was so good, right? So he was so good because you even felt the kind of like tension that he had in that situation, because I don't want to spoil it, but there's this nutty person in the house or that Brad Pitt is in the house and Dave is in the house, and you've got to be How do we get out of the house? Yeah. There was that scene to where he in it. He says, Well, you can call me and I can't remember what the name was. He's like, Well, that's that's really what my name is. And again, am I Google like, is that really his name? It's like this is he fictionalized that fictional name, which is comical. And it doesn't always work. Like I say, there are situations where you go, Mm, this really laid an egg and I think we'll see it this year or two. We're going to see, yeah, films that just might not make it at all. Last year we had blond, which was about Marilyn Monroe in there. Ana de Armas played her and got an Oscar nomination and she was good, but the movie sucked. It was awful. And I defy you to say that you watched the whole thing. People didn't watch the whole thing. They got to the nude scenes and they shot it off. After that, it was not worth watching because the story didn't make any sense. You know, you have like Freddie Mercury story, Bohemian Rhapsody, right? Liked it because it plays into the the myth that I think has been created. So who? Yeah, well, I got to talk to one of those real people who's featured in Gran Turismo, which is a film about a guy who won the right to become a race car driver by playing video games. There was a competition and they, you know, whatever. And for whatever reason it clicked. Jann Mardenborough is his name and he is portrayed in this film as that naive person getting into the race car business and what it meant. He's still a race car driver. And we got a chance to talk about that whole trajectory and what it was like for him and what he thinks of the guy, Archie Madekwe, who plays him, what he thought of his performance. So we have a tape here. If you'd like to run it. We'll listen to what he has to say about portraying real people on screen. What is it like seeing yourself on a screen? I mean, we're not how many people get this story of their life told in a film? It's like 0.0001% or something? Yeah, it's it's very it's surreal, really. Being honest. It's it's even more surreal with somebody tells people tell me that the racing driver that had movies based on their lives, they no longer around single that they passed away so soon being 31 years old and have your life attractive. Your life. You told of the Big three. An audience is rare and in my industry very rare. So I feel very blessed and honored. That can actually tell. You know what shop in my life. Did you feel a connection to the character or did you see it as somebody else. Noticed me? I yeah, it really does feel like you did you have any did you have any say then in who gets to play you? Did you say, I'm going to look at these people and just see. If it's no secret you was always on the phone by the producers. They kept me in the loop, involved in all the scripts, you know, sets as well. And I was always kept informed of who they like. I see an actor to play me. Apparently the casting will be so long, even a year before Benigni was even shot. Oh, wow, Boss, she was always been number one favorite, as far as I understand, with many different levels of casting processes. But she was the one from day one. And did you like him from day one or did you go or. I don't know. He spoke on Face Time, The lowland scene with a mouth eat it plainly and pseudovirus Because I was in labor at the time that I was like, This looks like straight away. And so that was a great start. We met in person as well. Weeks later, after that phone call, and I it gave you a confidence because I was happy with the script, but meeting the person for the first face, it gave me even more confidence in things like be great, because he was absolutely casting Steely. Obviously he knew from producers as well and all time and face time and texts that meet somebody face to face difference. And he caught it really mean okay, I can focus on being studied rather and make it to focus on the acting and because we're completely allied on this. Yeah in yes he killed it. Did he ask you a lot of questions? Absolutely. And what he. What did what surprised you that he wanted to know? A lot of I'm not repeating his emotional my support is in the while it it's sports you have to be quite clinical but he was asking questions about the relationships I've had with certain people within the industry, my friends, my family. I just kind of try to be open is we all. And it became this very good at asking those questions that was so provoking and as two things which are them? He still dealt with soul so he can work on his craft when he's allowed a chance at this and he can show that and he got on set. How good was he had driving? Well, didn't have a driver's license very recently before shooting. I think for insurance, we'd really have to pass his test. And I didn't know at the time I think it was that a make or break, because if he didn't pass the test, we could have shot with Michelle McCann. But I know everybody at the meeting. But yeah, he was on a fast track course and then I'd passed and he said it interesting. But he said the favorite brand, right? I was always so, so is mine. But there you go. Yeah. He's got good taste, wrong behavior. So yeah, I think if you were bring somebody that have been involved, it looks sort of caused the fault. So it feels very nice. But I have a lot of respect to somebody. Go to another industry and be honest. If I go dancing all through dancin or being a ballerina and let me see myself in that. So I would not risk that in the business. He'd never done this before, yet no interest because now he is a face granturismo which is just racing was and he is he, he nailed it. So yeah, I will respect that. But you know, the movie makes a big deal about can you really make the transition from being a gamer to being a driver. Is it possible? I mean, yeah, was possible with you. But in the grand scheme of things, was your dad really right? And you said, you know, this is going to lead to nothing. These are not going to be career connections for anybody. Well, I will indeed. My stepfather to that question. That was the question we were always asking ourselves, kind of be done proof. But you're one you're one person and, you know, you know, kids sit around and they're doing they're playing games all day and will it lead to something? And that's where dreams and belief comes into it, because they think that easy, everybody be able to do it but makes it easy. All that accomplishment is hard, as if all and it seems like it's not possible. Well, everything is well. I believe that you can do anything. It's a little set. You can't do everything. You can sit and do anything. He's taken line to it. I never let that like the beta racing brother go out. I didn't know how I would get from A to B, but always away very much aware from a young age or very headstrong as a person you would as a kid. That's what I want to do. And I'm not going to take no for that. So I'm not really from other people. That is the gospel of you have spoken in the past with other people about things that I'd said growing up as a teen, where I would say a BMW story, my first car as a child as that when I'm 17 years old and I had my friends because boys, boys, they would rip anything to me for years about that. And I spoke to my other friends, Solid school lives and that scene in the movie, they were a bar and they told me that they could they had a few drinks them. It must not limit the conversation. And they said to me, Look, you never said to us that you wanted to be a racing driver. And I boulevard and I was like, You're right. I never I never told anybody. I never told anybody about drink because you have to protect that. You can't walk around. I don't need you should walk out. I want to do this. I wanted that because people call you out today and also it loses the energy over Did you news that that that that you know that energy. Yeah I believe so I never spoke to anybody about it. It was always my inner drew but I believe you can do anything so anybody watching I learned via high fives in the messages for people about taking an interest in looks, but also telling me I learned to pursue my dream. It would tell me what it is, which I love you shouldn't tell me. You should tell me what it is I want to pursue my dream. You inspired me to see like me. And I love that kids want to move forward too. Why me? Yeah. The rules of life. We have to follow our actions up to this. Well, when it does happen, how do you feel? I mean, is it like. Well, now I've got to find a new dream, or, you know. While in racing, it's that is this thing as the perfect guy. So it's like and it's feel old chase So perfecting your craft and it will never be perfect. So I'm still in the trenches of how can I get better at the race? And rather that's what gives me purpose. Okay, I want to race here, but when I get there, I like to race. I want to wait. I want it to be fast. I want to recent level championships level, the championship races that lie. My drive is the constant. It's a set them and then we have living. It's up and up whether that be right and whether that can being the way out or I stop what right dress or whatever I my business lines it's always a a quality that. All right Bruce thanks for that interview. You know with the race car, movies and biopics, what was your thought on this one compared to like something like a Ford versus Ferrari? Well, this is one that actually had some kind of controversy about the way they messed with time because there's a big accident that's in this film and it has been moved from where it actually happened to a different time because it helps build tension and look at the guy who is it's his story doesn't mind, I guess I can't mind. But I think also because he's an executive producer, so there might be somebody that helped say, I don't mind. Yeah, yeah, No. I enjoy the racing movies. I enjoyed Ford versus Ferrari. I thought that was a really good story to tell. Well, this year, Ferrari, so. Yeah, exactly. Helped Ford in there. Exactly. And so you have to go into every screen biography as it ain't all true. Right? You know, it's interesting, you mentioned a lot of movies based on music, you know, with like Queen and Sugar and you had Elton John. And the one that kind of gets looked at is almost a starting point. I mean, there is there's been a few others along the way, but the one that really kind of propelled, I think the modern film was The Doors from Oliver Stone. And that's one where the three surviving members of The Doors at the time, they hated it. They were and they worked with Oliver Stone for a while on it to try to help, you know, tell the story. And when that thing came out, they were not at all happy with the way. And it hurt it because Val Kilmer should have gotten a best Actor nomination. Yeah, he was that good. And boy, they buried it. Yep. And when you look at later ones, Rami Malick, you know, when you look back on that one, you were going to say, why did he win the Oscar for playing Freddie Mercury? And it all boils down to that little number he did in front of a huge crowd because they played that thing forever before you even saw the film. And that one scene is very good, but the rest of it doesn't really back it up. And I think that's when you look at it, you'll say, you probably shouldn't have got it. You know, it wasn't it wasn't all that. The Whitney Houston one I think is awful and Rocketman is good. But then when it needs to, it'll go into these kind of fantasy sequences so that then you're not really sure what's what's shaking, what's real, what's true, what's not. You know, it's been an interesting series of films and they're not they're sort of interconnected because they're connected by almost like an individual. There's a producer. His name is Mark Girardi. He was a baseball pitcher. He actually pitched professionally. He pitched for a season with the Milwaukee Brewers. I know the story a little bit more because when I was working in New Jersey, he's actually from New Jersey. And my newspaper that I was working for at the time did a story on him when some of his movies were making out. So he finished his baseball career. He went into, I think, modeling and he started making Hollywood connections and then he started telling stories through Disney. And, you know, I'm all, you know, like Miracle about the 1980 Olympic hockey team and the rookie. And I went back and looked at, you know, I was trying to find like, you know, fact versus fiction on those. And I was having a hard time finding very much fictionalized. And I think those in general were pretty well-regarded. I was looking at a story about the Rookie with Jim Morris talking about, you know, the portrayal of him because he was the pitcher who blew out his arm and became a high school baseball coach and then all of a sudden realized he could throw 98 miles per hour again and ended up working his way back into the big leagues. And he said that the film was about 90% accurate to his real life. So it's good to see that there are some films out there, and I think I've really enjoyed those films that that they've done, like Miracle, like The Rookie, because I find them, you know, they're good, they're family friendly, they're not too over-the-top, but they seem to keep fairly close to historical facts. Yeah, it's condensing time, basically. You know, everything doesn't happen within a year. I think they're better off when they do a slice of somebody's life where it's like maybe three months of their life. And that's the movie. I think that would be the interesting kind of situation. Maestro is coming up by Leonard Bernstein. And that should be, I think, a really good one in terms of how well they track a segment of his career. But I, you know, gee, I, I would hate to be the subject of a biopic because I think that you have to kind of then live that that story instead of a real story was, you know, because that's what people think of you. They want to have things condensed and into a, you know, a neat little package that you can see in 2 hours. And we're done with you and you move on. But there there's much more beyond that. And I think when you look at those those seminal moments, maybe that's all it should be. Ken Burns is a great one to do documentaries about famous people, but what he uses are voices, other people talking about that person. So, you know, it's almost like a print news story where you hear others making some kind of assessment. And it's not just necessarily the character saying something. So those I find the most accurate in terms of believing what I'm seeing. But again, it's filtered. History is filtered by those who are telling history. I think the only thing that bothers me, I mean, I always know that there's going to be some creative license, some dramatization to these films, but it just irks me when they make weird changes for the sake of making changes that don't necessarily make sense. Because I remember somebody I've never seen the Buddy Holly story with Gary Busey. Robyn No, I haven't. I just I need to go back and watch it one of these days. But I remember a friend of mine talking about it and saying that you know, he like he liked the film, but he couldn't understand why they didn't have all the crickets. Like Buddy Holly's backing band was The Crickets. And it was like they had like three of the four members in it but not. Get their rights. Right. So it's just like, Why would you make a movie and leave out one of the band members, You know, if there is a reason for it, I guess, you know, somebody would want their story told. But if it was just more because as well, it's it gets a little unruly with four people. So we're going to just narrow it down to three. To me, those are little things that to the average person may not notice. But if you're trying to also appeal to fans of the band or the musician, these are historical pieces. It's like it's like even watching Field of Dreams, where Shoeless Joe Jackson is is batting from the wrong side of the plate. You know, it's it's you know, when you make a left in the batter right handed or vice versa, that kind of thing is like little details like that. When you're when you're a fan, you're kind of going. Like, do a fancy. Fancy get maybe that right. You know, that's that's kind of irritating. You know, now Broadway is jumping on the bandwagon and they're doing all of these musicals about musical people because they're very dramatic. They've got a built in catalog of sounds that always will work because people know them. There's a Neil Diamond one out now. There was Tina Turner, there was Cher. And you're going to see more and more of those Mamma Mia, which was just the songs with a different story. Right? But they're they're easily tapped into bowl. I always say that you can easily tap into them. Right. What I want to say, because you already know something about them, which is the music, and I think that's a shorthand that they don't have to tell other parts of the story because you just assume that's their. Yeah, though, I don't know, it's weird, but if there's a story or a moral or a caution to be added to this, it's a don't believe them. When you see a screen biography, don't believe them. They're very entertaining, but they aren't necessarily the true story. Absolutely. That's a good point to to end this episode. Thank you again, Bruce, for that interview. When Brad Pitt plays me in the movie version of the podcast, you know that it's going to have a different ending. Absolutely. Yep. And again, you know, just want to point out one last time, no animals were harmed in the recording of this podcast yet. We're all yet going to have a cat wander in here in a second. No, no, no. I know. That's all right, everyone. Thank you again. Come back again next week for another episode of Stream. The screen.See omnystudio.com/listener for privacy information.