Podcasts about Mammy

 Kathleen Lynn – a Rebel WomanI hope you all had an enjoyable Easter. Across the island and further afield commemorations were held at countless locations to remember those who fought in the 1916 Easter Rising and in all of the generations of the freedom struggle. The Belfast turnout was big and Pearse Doherty, who made an exceptional speech, was given a very warm welcome. I saw no mention of his remarks or those of other republican speakers on RTE, BBC or other broadcasters. So much for public service broadcasting! The story of Easter 1916 reverberates with many remarkable accounts of courage as a small band of Irish Republicans took on the largest Empire ever to have existed in human history. They include many women. Among these are Julia Grenan, Winifred Carney and Elizabeth O'Farrell who were in the GPO and in Moore St. when the decision to surrender was taken. Winifred Carney's statue now stands proudly in front of Belfast City Hall.  Finding their place in a new IrelandIn his Easter remarks at the Republican Plot in Milltown Cemetery Teachta Pearse Doherty referenced the fact that the “momentum for Irish Unity grows stronger every day…. it is fast becoming the defining political project of our generation.” Pearse also addressed the importance of preparing for unity and in doing so the imperative of engaging with the unionist section of our people. He said: “There are many issues for republicans and unionists to talk about. We need to address the genuine fears and concerns of unionists in a meaningful way.”That means examining what they mean when they say they are British. We must be willing he said; “to explore and be open to new ideas. We need to look at ways in which the unionist people can find their place in a new Ireland.”  A Barren Landscape of DeathThe Gaza Strip is one eighth the size of County Antrim and has a population three times larger. Imagine if Belfast north of the River Lagan and including Mallusk and Newtownabbey were levelled to the ground. No schools, no hospitals, no homes – just tents – no churches, no shops, no transport system, no sewage system. A barren levelled landscape of death. Gaza City has been under strict Israeli siege for seven weeks. No bread, no water, no fuel, no medicines have been allowed to enter the area. The people – the children – are starving.  And all the time the international community with a few honourable exceptions does nothing – is complicit in this genocide.All that FussA friend of mine in County Tyrone was taking her seven year old daughter to her local Gael Scoil when the child drew her attention to the road sign for Londonderry. Someone had drawn a line through the London bit.‘Why is that  like that Mammy?' She asked. So Mammy gave a children's explanation. ‘But they are both wrong' the child replied ‘It's not Londonderry or Derry. Its Doire.'And that dear readers is why there is all that fuss about Irish or bilingual signage. 

Welcome to this week's bonus episode of Unveiled, where Niamh and Nessa dive into listener confessions that will have you in stitches! From the hilariously awkward moment of calling an ex "Mammy" to crafty strategies for avoiding intimacy, the giggles are non-stop as they unpack your jaw-dropping stories.Listen in to hear a clever yet chaotic attempt at impressing a cute stranger on the train and just how much the girls want to be part of the Chappell Roan pink pony fan club.Get your confessions off your chest - Reach out on Instagram: @UnveiledPod or email us on Unveiled@GoLoudNow.com. Anonymous always x

Wherein mystery beckons from our door.  Breathe into our inbox: gwritersanon@gmail.com  Articulate our name on Facebook (Ghost Writers, Anonymous).  

Orla Drumgoole, a secondary school teacher from Dundalk and the creator behind the popular Instagram page, Irish Mammy Cooks, where she shares simple, tasty recipes with over 140,000 followers. This Saturday the 29th March Orla will be in Joyces Expert in Wexford for a fantastic cooking event

Diane and Sean discuss the cinematic racist masterpiece, Gone with the Wind. Episode music is, "Tara's Theme", composed by Max Steiner from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Send us a textIn this episode of Words, Wobbles, and Wisdom, Annmarie Miles takes a break from diet talk and reflects on social media through the lens of her late mother's wisdom. With St. Patrick's Day approaching, she shares heartwarming memories and explores how traditional manners could improve our online interactions. From Facebook to Twitter (or X), LinkedIn, and beyond, Annmarie discusses the evolving digital world with humour and insight. Tune in for nostalgic stories, relatable anecdotes, and practical advice on making social media a kinder place. #SocialMediaEtiquette #WordsWobblesWisdom #IrishPodcast" Support the showAs always, thanks for listening. ☕ Support the Podcast: Buy Me a Coffee ✨ Follow & Subscribe:Never miss an episode! Subscribe on Spotify, Apple Podcasts, or your favorite podcast platform.

In the catchup the lads discuss the fact that every stage school in Ireland did a number in their end of year show to Black and Gold by Sam Sparro the year the Fame remake came out and Kevin also opens up about his fear that his memory is no longer what it used to be. Then, because they had some of the manifesting girlies coming for them recently after they were slating some people for spending too much time doing vision boards and not enough time putting in the work they decide to do a manifestation deep dive. They also read out some manifestation story submissions from listeners and as per usual they are chaotic and do not disappoint.Sign up to the I'm Grand Mam Patreon for more stunning content: https://www.patreon.com/imgrandmam ✨ Hosted on Acast. See acast.com/privacy for more information.

In the catch-up this week, PJ and Kevin discuss their differing views when it comes to organised fun. PJ is all for it and is wanting to plan a murder mystery night in the south of France and Kevin couldn't think of anything worse. Then, inspired by Charli XCX's song Apple they compare the notion of nature versus nurture and examine just how much we actually inherit from our parents. They also decide that they need to book a holiday asap because they need a bit of excitement in their lives after a very busy January and February.Sign up to the I'm Grand Mam Patreon for more stunning content: https://www.patreon.com/imgrandmam ✨ Hosted on Acast. See acast.com/privacy for more information.

This week on Playback. Winning a Grammy and phoning the Mammy. How often is too often? Washing that is. And a week of headlines from President Donald J. Trump. All on Playback presented by Sinéad Mooney.

Is your Mother telling you you're too tough on your kids? Does she think kids shouldn't have chores when back in the day she made you clean the gutters! Welcome back to another episode of our zero judgement parenting podcast. So many questions to get through this week ranging from potty panic to the over bearing grandparent. Question 1- The throwing box! What exactly is it? We've talked about it loads on the show but this week we realised we have never fully explained the ingredients needed to make one. Listen in to find out what we think should be in your throwing box and how best to make it a success within the walls of your home. Question 2- What do you do when the crèche won't support your toileting efforts. If you've laid the ground work but they are unwilling to keep placing the bricks in place. Is it possible to be successful without their support? If you're wondering what are the important steps and which is the optimum age to start listen in to this week's episode to find out our thoughts on all things toilet training. For our third question about lies and the Irish Mammy Effect on parents please head on over to Patreon www.patreon.com/irishmanabroad We tend to keep the extra juicy stuff over there and this week is a little ripper!Email us anytime at honeyyouareruiningourkid@gmail.com. We get back to everyone even if sometimes it can take a little while. No parent left alone.

This week Rob and Laura are joined by the legend Cora Daly. Raised in the wilds of West Clare we chat all about her life as a teacher, a Mammy and a Granny. She even picks her very own Gom of the Week! Hosted on Acast. See acast.com/privacy for more information.

Niamh catches up on Gearoid's progress in Dancing With The Stars. In the mailbag we have someone who struggles with their mother when they return home. We have merch! For God's sake please buy our totes. Check out the merch store to support the show by buying yourself a present. If you would like to support us we would love for you to become a member of HeadStuff+ and leave us a lovely rating/review on whatever platform you listen on. Gearóid's tour-dates are here. Learn more about your ad choices. Visit megaphone.fm/adchoices

pWotD Episode 2813: Aunt Jemima Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 295,492 views on Monday, 13 January 2025 our article of the day is Aunt Jemima.Aunt Jemima was an American breakfast brand for pancake mix, table syrup, and other breakfast food products. The original version of the pancake mix was developed in 1888–1889 by the Pearl Milling Company and was advertised as the first "ready-mix" cooking product.Aunt Jemima was modeled after, and has been a famous example of, the "Mammy" archetype in the Southern United States. Due to the "Mammy" stereotype's historical ties to the Jim Crow era, Quaker Oats announced in June 2020 that the Aunt Jemima brand would be discontinued "to make progress toward racial equality", leading to the Aunt Jemima image being removed by the fourth quarter of 2020.In June 2021, amidst heightened racial unrest in the United States, the Aunt Jemima brand name was discontinued by its current owner, PepsiCo, with all products rebranded to Pearl Milling Company, the name of the company that produced the original pancake mix product. The Aunt Jemima name remains in use in the brand's tagline, "Same great taste as Aunt Jemima."Nancy Green portrayed the Aunt Jemima character at the 1893 World's Columbian Exposition in Chicago and was one of the first Black corporate models in the United States. Subsequent advertising agencies hired dozens of actresses to perform the role as the first organized sales promotion campaign.This recording reflects the Wikipedia text as of 02:00 UTC on Tuesday, 14 January 2025.For the full current version of the article, see Aunt Jemima on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Kajal.

Niall Boylan catches up with Siobhan about all things changing habits If you want to give up the drink, the smokes anything you want to change in this new year!Get in touch with the show WhatsApp 087 1880008

TheWanderingPaddy Poetry - The Book of Truths. Out Now on Amazon. Become a member at https://plus.acast.com/s/thewanderingpaddy. Hosted on Acast. See acast.com/privacy for more information.

Michelle McCaffrey, volunteer with Autism Assistance Dogs Ireland, told Oliver about fostering therapy dogs.

We came across the most heartwarming story on Tik Tok of Anita Nolan from Arklow who with the help of her Dad, custom made a sensory Christmas Tree that her boy Donnacha could sit under.

On this episode Jason was angry over the fact that his 6 year old child sometimes sleeps in bed inbetween Mammy and her new partner. He believes this should not be happening as the guy in not the childs Father.

Social media is in a frenzy over the mammy stereotype. Where did the term “mammy” come from, and why is it always associated with Black women? The truth is, a true mammy isn't what most think it is. _____________ 2-Minute Black History is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work. The production team for this podcast includes Cydney Smith, Len Webb, and Lilly Workneh. Our editors are Lance John and Avery Phillips from Gifted Sounds Network. Julian Walker serves as executive producer." To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Anna Moore tells Oliver what it's like to have been behind some of the biggest female boxers to come out of this country including Kellie Harrington and Katie Taylor who fights in America this weekend.

Cash for Coins , Register , Shopping with Mammy , Charity , Cinema ,The Shania Twain Pooch , Holidays , Johnny Duhan , Attack of The Birds , RTE , Tyson Fight , The Bear Insurance Claim and loads more .....

Send us a textCelebrate the vibrant world of bourbon with us alongside our esteemed guest, Super Nash, as we navigate a spirited evening of camaraderie and stories. This episode bursts with updates from our recent bourbon adventures and personal triumphs, including a heartfelt shoutout to our friend CT, whose insights continue to enrich our discussions. Tune in to discover our thoughts on the Old Louisville barrel bashing segment and the much-anticipated Booker's 2024-03 Master Distillers batch, as well as a sneak peek into the newly released 2024-04 Jimmy's Batch.Join us on a whirlwind of events hosted by bourbon enthusiasts Walter Zausch and Stacy Pritchard, where familiar faces like Mark Carter, Christy Atkinson, and Amzy add to the charm of gatherings at Whiskey Thief and the Kentucky Bourbon Festival. From the comfort of the Distill Inn to the unique flavors of a bourbon pancake at Mammy's, we recount our travels and look ahead to exciting plans, including a tasting session at my cousin's bar and a podcast rendezvous with Brent Elliott at Four Roses. With each tale, we pay tribute to the legacy of master distillers and the artistry behind Booker's Master Distiller Batch 24-03.Explore the nuances of bourbon tasting with our special focus on Booker's 2024-03 Master Distillers batch, celebrated for its unique flavors reminiscent of sweet root beer and vanilla frosting. Our Scotchy Bourbon Boys Barrel Bashing Rating System provides the framework to appreciate and compare this exceptional high-proof batch against giants like Buffalo Trace and Elijah Craig. As we toast to the lasting impact of bourbon camaraderie, this episode promises insight, laughter, and a shared appreciation for the rich, evolving flavors that make each bottle a celebration of tradition and community. ad for Rosewood bourbonSupport the showhttps://www.scotchybourbonboys.com

“Text Papa Seer”In this special episode of *Hoodoo and Chill*, we explore two powerful figures of the divine feminine in the spiritual diaspora: La Madama and the Black Mammy. While La Madama is celebrated in Afro-Latino traditions for her healing and fortune-telling, the image of Black Mammy remains complex and controversial, tied to painful histories of slavery. Join us as we dive into their origins, spiritual roles, and the debates surrounding who can work with these guides today. Don't miss this eye-opening conversation that reclaims and honors their true power in 2024.Support the show Submit Your Idea For A podcast Show Topic Follow @PapaSeer On IG Papa's Youtube Book A Reading With Papa Seer Join The Discord Server (Conjure Square Group Chat ) Classes Shop Follow Us On Clubhouse Donate To Our Podcast Show Credits Producer - @PapaSeer Writer - @PapaSeer Editor- @Papa Seer

In this episode we asked you to send in your thoughts on faking it, do you do it often with your partner and why? We also talk about what gives you the ick and have you ever sent a dirty pic to the wrong person? It worked out well for one of our listeners when he accidently sent a dick pic to his girlfriends aunt. All this and much more filth which includes a guy calling out his cats name during sex. The is a wild episode. 

“Mrs. Brown's Boys” is a sitcom created by and starring Brendan O'Carroll who plays Agnes Brown, a loud-mouthed Irish matriarch who loves meddling in the lives of her six children. The show first premiered in 2011 on BBC1 and RTÉ1 but the character of Agnes Brown had already been establushed in stage plays, radio plays, books, and straight-to-DVD films. The series is known for its informal production style, often breaking the fourth wall and including outtakes and intentional tomfoolery. While this style doesn't seem to land with critics who have often given the show poor reviews, it has been a ratings success in numerous countries and has won several industry awards. Will the S1E1 guys side with the critics or the fans? Listen as they deep dive the show's pilot episode, "The Mammy". Starring: Brendan O'Carroll, Dermot O'Neill, Jennifer Gibney, Paddy Houlihan, Derek Reddin, Fiona O'Carroll, Eilish O'Carroll, & Amanda Woods www.S1E1POD.com MERCH Instagram & X (Twitter): @S1E1Pod

Kellie Harrington is a double Olympic champion, winning gold in Paris last night. Oliver chats to Kellie's brother Christopher Harringon and Anna Moore "the Mammy of Irish boxing" following her historic win.

On this episode 3 women in their 30's who house share slammed men of the same age who still live at home with their parents. They said it's an instant turnoff!!!

Known by many for her role as Mammy in Gone with the Wind or as the first African American to win an Oscar. But there is so much more to this incredible woman. Listen now! Sources: Hattie McDaniel: Black Ambition, White Hollywood by Jill Watts; Vanity Fair article titled The Icon and the Outcast: Hattie McDaniel's Epic Double Life by Hadley Hall Meares, 4/26/21; encyclopedia.com; IMDB Images Source: IMDB

PJ chats with Imelda who is at the Everyman Tue 30 Jul–Sat 10 Aug for Mother Of All The Beehans see everymancork.com Hosted on Acast. See acast.com/privacy for more information.

The lads discuss gaming, driving lessons and Irish theatre.

The lads discuss local elections, going grey and Irish mothers.

She's the star of Ted Lasso, Game of Thrones and the brand new 'Garfield' movie but she's also the Mammy to a budding stylist! Hannah Waddingham joined Dave to chat her new character in 'Garfield' Jinx, her time in Belfast and how some cardboard made it's way into her SAG Award outfit.

Mother's Day Our Miss Brooks "Mother's Day Hats" May 13, 1951 CBS Family Theater "Mother of All" May 6, 1953 Mutual  Al Jolson singing My Mammy

In this week's MiniPod, hosts Angela Rye, Tiffany Cross, and Andrew Gillum discuss Vice President “Mamala.”   Did y'all see the clip of Vice President Harris on the Drew Barrymore show last week?? The internet has been abuzz over Barrymore's cringe-inducing comments to the Veep. The hosts catch us up and explain why Barrymore's comments were so triggering.    Welcome home y'all!    —--------- We want to hear from you! Send us a video @nativelandpod and we may feature you on the podcast.    Instagram  X/Twitter Facebook   Watch full episodes of Native Land Pod here on Youtube. Thank you to the Native Land Pod team:    Angela Rye as host, executive producer and cofounder of Reasoned Choice Media; Tiffany Cross as host and producer, Andrew Gillum as host and producer, and Gabrielle Collins as executive producer; Loren Mychael is our research producer, and Nikolas Harter is our editor and producer. Special thanks  to Chris Morrow and Lenard McKelvey, co-founders of Reasoned Choice Media.  Theme music created by Daniel Laurent.See omnystudio.com/listener for privacy information.

Oonagh O'Rahilly's Mammy recently discovered she's never washed her legs, Eimear from the Dave Moore Show has never eaten a banana and more than a few people in Ireland have never had a cold. We heard all about the different things people in Ireland haven't done.

On this edition of In Black America, producer and host John L. Hanson, Jr. speaks with Reshonda Tate, screenwriter, movie producer and award-winning, best-selling author. Tate’s latest book The Queen of Sugar Hill: A Novel of Hattie McDaniel is a fictional portrait of Hattie McDaniel, whose Academy Award winning portrayal of Mammy in Gone With […] The post Reshonda Tate (Ep. 21, 2024) appeared first on KUT & KUTX Studios -- Podcasts.

Is your husband trying to turn the kids against you? Is your kid in a toxic friendship and needs your help to get out of it? Does your kid have an unhealthy obsession with your new partner? Yes? No? What the hell? Either way today's HYROK episode is a scandalously good listen with Tina on form answering some of the toughest questions we have ever received.Question 1- A single mum gets in touch wondering how she can best protect her children while coping with her ex husband's negative behaviour towards her. Parental alienation is thankfully a recognised crime now. Are there enough supports out there when it happens at a very early age and hard to pin point what's actually happening. Who can you ask for help? How do you survive and maintain your mental health. Moms tend to only care about the welfare of their children but sometimes putting yourself first really matters too. Question 2Friendship issues are a daily worry for most kids. A lot of the time it is agonising to observe as a parent. What is the best approach? Shut down the friendship? Go to the parent? Or get the school involved? An incredibly hard one to navigate but arming our children to stand up for themselves and to be happy in their own company is equally important. Question 3What do you do if your child think he's in love with your new partner? For this listener the crush might have developed into an infatuation and their child's entire behaviour is changing. How do you get them back on track? How do you curb their new obsession while teaching them boundaries and respect? This week a stressed out dad gets in touch with this exact problem.Easter break is in the books. Maybe you got a rest. Maybe your kids ran you ragged and their return to school is your first chance to breathe out. According to the recently published Aldi Mammies and Daddies Report into the lives of Irish parents the later is probably the case if your're the Mammy. Jarlath was invited onto Jen Hogan's "Mamia And Me" podcast panel to discuss the findings to see if they match up to what we are seeing here on Honey! You're Ruining Our Kid. Along with our 3 brilliant questions from the listeners, this week we dive into those findings and the disproportionate impact parenting has on women rather than men. How important is it for us to change the old school views that form the seed of these problems. Shout out to the amazing little toddler who brought the entertainment on the day of the live recording. She won the room. You can listen to the episode very soon here.There's a big extra chunk over on www.patreon.com/irishmanabroad - why not come over and join us in a few clicks. It's how we support the show and it's the place where you can here "what happened next" when the listeners apply Tina's advice.

Seamus O'Reilly, Columnist with the Examiner

A final day of discussion on the upcoming Family & Care Referenda, and some embarrassing Mammy stories ahead of Mother's Day. Cork, it's time to talk, weekdays from 9am. The Neil Prendeville Show on RedFM.

In Episode 163, Sara Hildreth, from @FictionMatters and co-host of the podcast Novel Pairings, returns for her third appearance on our show as our expert for Classics & Retellings 101. Sara guides us through the sometimes intimidating world of timeless reads in an accessible way. She busted some myths about classics and changed my mind about some elements of the classics. And, she has a great approach to find the perfect retelling of your favorite classics for your next read.  This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Highlights Sara explores the definitions of a classic and a modern classic book. We talk about separating the American literature canon from the idea of a classic. Sara talks about being free to define classics on personal terms. The idea of a book being labeled a “future classic.” Now-famous books that went unnoticed initially when they were released. Sara's personal reading motivations. Common issues people have when trying to tackle classic books. Notable quirks of many classics that were first published as serials. Tips and advice for approaching older books. Addressing the pressure surrounding reading or revisiting classics. Examples of nonfiction classics. Legal considerations for all those retellings. The rise of retellings as a trend with today's audience. The difference between retellings and fan fiction. Sara's recommendations for accessible classic literature. A different approach to finding the right retelling for your reading. Please note: Sara mistakenly mentions during the discussion that The Great Gatsbydid not come into popularity until its distribution to soldiers during World War I, when this actually occurred during World War II. Sara's Book Recommendations [49:02] Two OLD Books She Loves — Classics The Custom of the Country by Edith Wharton | Amazon | Bookshop.org [49:43] Passing by Nella Larson | Amazon | Bookshop.org  [53:12] Other Books Mentioned The Age of Innocence by Edith Wharton [50:58] The House of Mirth by Edith Wharton [50:59] Roman Fever and Other Stories by Edith Wharton [51:03] The Vanishing Half by Brit Bennett [55:44] Two NEW Books She Loves — Retellings Anna K by Jenny Lee | Amazon | Bookshop.org [57:35] The Chosen and the Beautiful by Nghi Vho | Amazon | Bookshop.org [1:00:28] Other Books Mentioned Anna Karenina by Leo Tolstoy [59:01] Gossip Girl by Cecily von Ziegesar [59:53] Crazy Rich Asians by Kevin Kwan [59:58] One Book She DIDN'T Love — Classic Adventures of Huckleberry Finn by Mark Twain | Amazon | Bookshop.org[1:03:25] One NEW RELEASE She's Excited About — Retelling and Classic Pairing The Garden by Claire Beams (April 9, 2024) | Amazon | Bookshop.org [1:05:12] Other Books Mentioned The Illness Lesson by Claire Beams [1:05:37] Little Women by Louisa May Alcott [1:05:41] The Secret Garden by Frances Hodgson Burnett [1:06:21] Last 5-Star Book Sara Read James by Percival Everett (March 19, 2024) | Amazon | Bookshop.org [1:07:47] Books Mentioned During the Classics Discussion The Bonfire of the Vanities by Tom Wolfe [3:44] Beloved by Toni Morrison [10:46] Demon Copperhead by Barbara Kingsolver [12:05] David Copperfield by Charles Dickens [12:19] James by Percival Everett (March 19, 2024) [13:29] Adventures of Huckleberry Finn by Mark Twain [13:34] Wide Sargasso Sea by Jean Rhys [13:51] Jane Eyre by Charlotte Brontë [14:02] The Great Gatsby by F. Scott Fitzgerald [14:45] Frankenstein by Mary Shelley [15:09] Gone Girl by Gillian Flynn [15:20] Wuthering Heights by Emily Brontë [24:27] A Model of Christian Charity: A City on a Hill by John Winthrop [26:35] A Vindication of the Rights of Woman by Mary Wollstonecraft [26:47] Narrative of the Life of Frederick Douglass by Frederick Douglass [26:54] The Diary of a Young Girl by Anne Frank [26:59] A Room of One's Own by Virginia Woolf [27:02] In Cold Blood by Truman Capote [27:14] The Talented Mr. Ripley by Patricia Highsmith [29:13] The Time Machine by H. G. Wells [29:20] The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson [29:23] Rebecca by Daphne du Maurier [29:30] The Handmaid's Tale by Margaret Atwood [29:36] The Women of Brewster Place by Gloria Naylor [29:45] The Most Dangerous Game by Richard Connell [30:17] The Yellow Wallpaper by Charlotte Perkins Gilman [30:20] The Lottery and Other Stories by Shirley Jackson [30:23] The Minority Report and Other Classic Stories by Philip K. Dick [30:26] Going to Meet the Man: Stories (with Sonny's Blues) by James Baldwin [30:37] Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance (with The Gilded Six-Bits) by Zora Neale Hurston [30:42] Their Eyes Were Watching God by Zora Neale Hurston [30:54] Kindred by Octavia E. Butler [31:00] Parable of the Sower by Octavia E. Butler [31:08] Books Mentioned During the Retellings Discussion Julia by Sandra Newman [33:38] 1984 by George Orwell [33:40] Hamlet by William Shakespeare [34:10] Emma by Jane Austen [34:24] The Taming of the Shrew by William Shakespeare [34:28] The Kind Worth Killing by Peter Swanson [34:45] Strangers on a Train by Patricia Highsmith [34:51] Everyone in My Family Has Killed Someone by Benjamin Stevenson [35:04] And Then There Were None by Agatha Christie [35:08] The Winters by Lisa Gabriele [35:35] The Odyssey by Homer [36:38] The Song of Achilles by Madeline Miller [37:00] Circe by Madeline Miller [37:01] Hogarth Shakespeare series by various authors [37:53] Canongate Myth Series by various authors [37:57] The Austen Project series by various authors [38:00] Eligible by Curtis Sittenfeld [38:03] Naamah by Sarah Blake [38:56] Anna K by Jenny Li [40:10] Anna Karenina by Leo Tolstoy [40:20] Tom Lake by Ann Patchett [40:41] Beautiful Little Fools by Jillian Cantor [42:36] Stone Blind by Natalie Haynes [44:14] Marmee by Sarah Miller [44:17] Little Women by Louisa May Alcott [44:22] Gone with the Wind by Margaret Mitchell [44:38] Ruth's Journey: A Novel of Mammy from Margaret Mitchell's Gone with the Wind by Donald McCaig [44:40] Pride by Ibi Zoboi [45:19] Other Links The Atlantic | Italo Calvino's 14 Definitions of What Makes a Classic by Maria Popova (July 7, 2012) Novel Pairings | The Custom of the Country by Edith Wharton (February 27, 2024) About Sara Hildreth Website | Instagram | Facebook  Sara Hildreth is the creator behind FictionMatters, a literary Instagram account, newsletter, and book club focused on putting thought-provoking books into the hands of adventurous readers. She also co-hosts Novel Pairings, a podcast dedicated to making the classics readable, relevant, and fun.

Listen in as I chat with ReShonda Tate, the best-selling author of dozens of novels including The Queen of Sugar Hill, ReShonda's first historical novel. It's listed in the Film category on Art In Fiction.View the Video on YouTube: https://youtu.be/aIofW073t_UHighlights include:Why write a novel about Hattie McDaniel, famous for playing Mammy in Gone with the Wind and being the first Black person to win an Academy Award for Best Supporting Actress in 1939.Hattie's famous line about how she'd rather play a maid than be a maid.The novel as a story about a career woman before her time.Hattie's troubled love life.Hattie's relationship with Clark Gable.Researching The Queen of Sugar HillFact vs. fiction - an example of a fictionalized event in The Queen of Sugar HillHattie's activism during and after the war and her successful challenge of the restrictive covenant that kept the Sugar Hill neighborhood for "whites only" that led to a landmark Supreme Court case.Theme of The Queen of Sugar HillReading from The Queen of Sugar HillReShonda's focus on writing historical fiction What ReShonda is working on nowPress Play now & be sure to check out The Queen of Sugar Hill on Art In Fiction: https://www.artinfiction.com/novels?q=reshonda+tateReShonda Tate's Website: https://www.reshondatate.comPaganology, performed by The Paul Plimley Trio; composed by Gregg SimpsonAre you enjoying The Art In Fiction Podcast? Consider helping us keep the lights on so we can continue bringing you interviews with your favorite arts-inspired novelists. Just $3 buys us a coffee (and we really like coffee) at Ko-Fi. Just click this link: https://ko-fi.com/artinfictionAlso, check out the Art In Fiction website at https://www.artinfiction.com where you'll find over 1800 novels inspired by the arts in 10 categories: Architecture, Dance, Decorative Arts, Film, Literature, Music, Textile Arts, Theater, Visual Arts, and Other.

A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational' Today's Sponsor: YouTube TVhttp://thisistheconversationproject.com/youtubetv Today's Rundown:Prince Harry loses High Court challenge over UK security levelshttps://www.bbc.com/news/uk-68421992 Lauren Boebert son arrested on charges of vehicle trespass and property thefts, adds to family drama of 2024 campaignhttps://www.nbcnews.com/politics/congress/lauren-boeberts-son-arrested-charges-vehicle-trespass-property-thefts-rcna140867 5 Seconds of Willy Wonka Scam Cringe Prove the Event Was Doomed From the Starthttps://wegotthiscovered.com/pop-culture/5-seconds-of-willy-wonka-scam-cringe-prove-the-event-wasnt-even-worthy-of-toddlers/ Comedian Richard Lewis dead at 76https://us.cnn.com/2024/02/28/entertainment/richard-lewis-death/index.html Hunter Biden rejects House GOP's claims Joe Biden involved in businesshttps://www.usatoday.com/story/news/politics/2024/02/28/hunter-biden-will-testify-impeachment-inquiry/72759516007/ Mitch McConnell, a colossal figure in Congress, will step down from his leadership post in Novemberhttps://www.usatoday.com/story/news/politics/elections/2024/02/28/mitch-mcconnell-step-down-from-leadership-post/72774822007/ Paris Olympics security plans stolen from a trainhttps://www.theguardian.com/world/2024/feb/27/bag-containing-security-plans-for-paris-olympics-stolen-from-french-train SAG-AFTRA adjusts intimacy coordinator confidentiality rules after Jenna Ortega moviehttps://www.yahoo.com/entertainment/sag-aftra-adjusts-intimacy-coordinator-155725188.html Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER ON FEBRUARY 29:Tony Robbins (64)Antonio Sabato Jr. (52)Ja Rule (48) WHAT HAPPENED TODAY:1906: Ladies Home Journal reported that “women of good birth and breeding long ago discarded the use of perfumes.”1940: Gone with the Wind won eight Academy Awards, including best picture of 1939. For her role as Mammy in Gone with the Wind, Hattie McDaniel became the first African American to win an Academy Award.1972: Hank Aaron became the first player in the history of Major League Baseball to sign a $200,000 contract. PLUS, TODAY WE CELEBRATE: Leap Dayhttps://en.wikipedia.org/wiki/February_29

It's been more than 80 years since Hattie McDaniel made history as the first black actor to win an Oscar, accepting the award for her role as Mammy in "Gone with the Wind." Now the story of that night is being reimagined in the play "Boulevard of Bold Dreams."

We're recapping the GRAMMYs!+ Ashley needs advice!

A separated Dad contacted us... furious after finding out that his child regularly shares a bed with Mammy and her new boyfriend. Lots of our listeners had a big issue with this...

In this episode of Girl, You So Random, I had the pleasure of talking with Sabriaya Shipley, an author, educator, storyteller, and community ethnographer. In 2019, Sabriaya was named A+ Educator by Philadelphia Magazine. In 2020, she co-founded Griot Girls - a writing collective for young Black and brown girls. In 2021, Sabriaya was a recipient of the Philadelphia Foundation and Forman Arts Initiative Arts Works grant and a Black Lives Matter Philly Educator Fellow. In 2022, the Rosine 2.0 Past Visions/Future Archives Micorgrant, and recently an Allens Lane's Rebeccah Milena Maia Blum Curatorial Fellowship. Sabriaya also authored and published Somewhere Between God & Mammy in 2022. Sabriaya is determined to cultivate performance, art, and archival spaces centered around the expressive freedom of Black, Brown, and Indigenous communities. They have collaborated with The Painted Bride Art Center, The Colored Girls Museum, Mural Arts Philadelphia, Philadelphia Young Playwrights, New Voices for Reproductive Justice, Artwell Philly, Tree House Books, Residency 1111 in London, and more. You can follow her on IG: @ubuntusab FB: @sabriayashipley or her website https://www.sabriayashipley.com/ https://sshipley.exposure.co/ This episode is sponsored by Mommy Marayam, hair and body products that cater to mommy and child. You can buy products for you and your baby at www.mommymarayam.com Vocals by: Dian Sentino @belifuna Follow me on IG @drhollysfunny

This special festive episode is slightly different because, as we come to the end of 2023, we thought it would be interesting to talk to someone who has had a breakthrough year. And we couldn't think of anyone that description fits better than UK-based designer, Simone Brewster. In June, Simone held her first solo exhibition at the NOW Gallery on London's Greenwich Peninsular, entitled The Shape of Things. While, in September, her installation Spirit of Place with cork company, Amorim, opened on the Strand in the centre of the capital. These came with what amounts to a blizzard of publicity, including a profile in the New York Times. In short, she has been hard to avoid.In this episode Simone and Grant talk about: her brilliant year; how The Shape of Things informed her practice; creating ‘intimate architecture' with furniture and jewellery; her (occasionally extraordinary) use of colour; the importance of taking herself seriously; the thinking behind her best-known pieces, The Negress and The Mammy; painting during the pandemic; why people didn't know what to do with her work; working with cork; her issues with studying architecture; making as salvation; not fitting in… until now; and her plans for 2024. We're delighted that this episode has been sponsored by the American Hardwood Export Council Europe. You can find its excellent podcast Words on Wood here: https://podcasts.apple.com/gb/podcast/words-on-wood/id1559894669. It's well worth checking out.Support the show

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

The biggest turd in history, Melissa Joan Hart: Nashville Hero, The Chet Hanks Show, Adnan Syed's sentence reinstated, Lizzo v. Britney Spears, bad planning by a police chase suspect, and Drew's deep dive into Ray Parker Jr. Jason Carr Drive is on hiatus this week due to Spring Break. Nashville Police did an amazing job responding to the Covenant School shooting. Melissa Joan Hart helped children escape the scene. We also learn that MJH has her own podcast. Peter Frampton weighed in and his message was shared by Alec Baldwin. Tresa Baldas has another piece terrible Ethan Crumbley's parents were raising him. Chanel West Coast has incredible trolls in her IG comment section. DJ Hernandez (Aaron Hernandez's brother) was arrested for terrorizing ESPN's headquarters by throwing a brick... onto the lawn causing no damage.  Chet Hanks has a brand-new YouTube show and it's full of hot dude wrestling and bragging about his Lamborghini. Speaking of Lambos, porn star Lana Rhoades has one. Ben Affleck's new Air movie actually looks pretty good. Lizzo fans have to defend her for wearing a see-through dress to Cardi B's birthday party. True Crime: Adnan Syed's murder conviction reinstated by Maryland court. They didn't give Hae Min Lee's brother enough time (1 business day) to respond. They have 60 days to figure out if he goes back in the slammer. Is anyone ever going to get in trouble over that entire Jeffrey Epstein pedophile ring thing? The Donald Trump grand jury in Manhattan is taking a month off. Bryan Kohberger's sisters are BLOWN OUT of their jobs because of their murdering butthead brother. The murderer has found Jesus way too late. The Obamas are EXTREME! Adam Sandler received The Kennedy Center Mark Twain Prize for American Humor. Rob Schneider took a beating from the other comics attending. With all the talk of that newswoman in trouble, we take a look at the 'Mammy' scene from Eastbound and Down. Antoine Dodson gives permission for any ethnicity to use his meme. Jonah Hill does not want to talk about that entire Kanye West-cured-of-antisemitism-thing. Anyone for a Ray Parker Jr. deep dive? An old-school Viking turd is making the rounds on the internet for some reason. The New York Times was not very nice to Dr. Anthony Fauci. He'll be headlining the MSU commencement. Andre Drummond leaves social media and changes his phone number in an effort to work on his mental health. Britney Spears continues to post crazy things on Instagram. Who has the cleaner ass: Lizzo or Britney? Are Sam and Britney headed for divorce? This dude stole a cop car, got chased, and the jumped out of the car mid-chase. He dead. A Novi drug kingpin has been sentenced to 22 years in prison. Blac Chyna is now Angela White. No, not THAT Angela White. It's Bhad Bhabie's Bhirthday. Chris D'Elia's too. Emily Ratajkowski ex, Sylvester Bear, is being #MeToo'd. Olivia Wilde is still miffed at her. Gwyneth Paltrow is still in court for being a ski-terrorist. Apple and Moses Martin testify. Trudi spread her food poisoning to everybody at her work. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon). Or don't, whatever.

Ridiculousness star trolled on IG, The Bachelor finale, Nashville school shooting updates, Antonio Brown buys a football team, Drew Crime stories, and Dave & Chuck the Freak fans are mad at us. More information is out on the Covenant School shooting in Nashville. Video of the perpetrator and the police response have already been released. Joe Biden rambled about ice cream before addressing the mass shooting. Bachelor Nation honors them. Ok, 2nd down and 9. The Bachelor wrapped up and Zach the Snack chose the girl he didn't get to nail. The Mean Internet: Lara Flynn Boyle looks unrecognizable. Justine Bateman is totally fine with her old, wrinkly face. Kourtney Kardashian threw a dinner party in her disgusting bathroom. Antonio Brown has purchased a football team... in the Arena Football league. Magic Johnson put his bid in to buy the Washington Radskins. The Virginia Tech Lady Hokies are in the Final Four. Whoopi Goldberg defends the news anchor fired over quoting Snoop Dogg lyrics. The Today Show is going to be canceled for listing 'Mammy' in their 65 names for grandmothers. The "ninja community" is still angry with Jennifer Murphy. MLB Opening Day is Thursday. Baseball is back. Bruce Springsteen is playing Detroit this week. Matt Riley will fly across the United States to attend a softball party. Local News: Detroit City Council approves $600M in tax incentives because the billionaires around here need the money. Gretchen Whitmer addressed DTE employees and it was a lovefest (this story is not being reported in the news). An 80-year-old Detroit woman was assaulted in her front yard and Trick Trick wants answers. Tenure is a hell of a thing. Steven Shaviro is suspended, but he can't lose his gig. The Michigan Wolverine Football team is going to TWO Holocaust museums. US workers no longer have to be vaccinated for COVID. The internet is reacting to an old picture of John Fetterman. Why you look different? Sam Bankman-Fried in more trouble. This time for bribing Chinese officials to the tune of $40 million. Drew Crime: 48 Hours covers the murder of Tiffiney Crawford. James Craig really needed a murder consultant prior to killing his wife. Aiden Pleterski blew millions of other people's money out of his ass and got his butt kicked for it. 60 Minutes featured eBay vs Ina and David Steiner. The Charles Barkley and Gayle King show might be coming to CNN. Adler's Appetite is headlining Sterlingfest 2023. The Washington Wizards Bradley Beal doesn't handler hecklers very well. The NFL needs more money and will now have sportsbooks inside the stadiums. Drew really wants you to visit the YouTube page. The Dave and Chuck the Freak Reddit page found our video talking about the Canadian/Fort Myers radio show. Mean Girl on Barstool Sports is an awful replacement for Call Her Daddy. Chanel West Coast is leaving Ridiculousness after 30 seasons. The comments on her Instagram are surprisingly mean. Olivia Dunne's Boner Army is being attacked by other TikTok star's Boner Armies. Tiger Woods puts out Erica Herman's NDA just to show the world she needs to SHUT UP! Alisabeth Hayden left her Airpods on an airplane and a worker stole them. She tracked her items down herself. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon). Or don't, whatever.