Podcast appearances and mentions of Nina Simone

This mixtape is a showcase of Jazz Gospel - guiding us to the light to spirituality, featuring the new André 3000, which is transcendental in all its glory. The Outkast artist is surely on a mission from God. Featuring Alice Coltrane, Don Cherry, Sun Ra & His Arkestra, Pharoah Sanders, Nina Simone, Idris Ackamoor, The Pyramids and more. Welcome to the 4th Dimension. Tune into new broadcasts of Matt Pape Mixtape, Friday from 12 - 1 AM EST / 5 - 6 AM GMTFor more info visit: https://thefaceradio.com/matt-pape-mixtape///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

We got to talk about cartoons, Montreal, Nina Simone and more with JUNO Award winning singer-songwriter Dominique Fils-Aimé who is creating the future of jazz. She has a voice like a choir of angels, a weird sense of humor that perfectly matches ours, and her latest album, Our Roots Run Deep, is a beautiful banger!

“I wish you could know what it means to be me.” —Nina SimoneFeaturing, in order of appearance: Mathieu Bitton, Radio Rahim, Mo Amer, Michael Che, Michelle Wolf, Cipha SoundsContains audio clips of Shaykh Hamza Yusuf and Nina Simone, and music from Nina Simone, Brittany Howard, and Michael Kiwanuka.Recorded in Ohio, Summer 2020. Originally published May, 2021.Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayRecording Engineer: Federico LopezRecording Engineer: Adrián Bruque for NPNDAssistant Editors: Danny Carissimi and Noah Kowalski Senior Sound Designer: Russell TopalTranscription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Rachel EckStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Kyle Ranson-Walsh, Sina Sadighi, Mark Silverstein, and Carla Sims.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2021 by Pilot Boy Productions, Inc., all rights reserved.

Modern Jazz Quartet, Julie London, Teddy Wilson, Erroll Garner, Nina Simone, Nellie Lutcher, Lalo Schifrin, Paul Horn, Gene Bertoncini w. Michael Moore, Jim McHarg w. Lonnie Johnson. Those are records I dug from my storage locker: great albums I played for myself this week.. And I found at least one track from each I wanted…Continue reading Episode 254: More From my LP Collection

En este episodio número 100 de Baraja Eso, tenemos el honor de recibir a una invitada muy especial, la rapera franco-chilena, Ana Tijoux (⁠@anatijoux). La vida de Ana está marcada por una historia familiar singular. Nacida en Francia debido a las circunstancias de migración causadas por la dictadura en Chile, sus primeros años estuvieron permeados por las influencias culturales de este país europeo. A los 14 años, regresó a Chile y emprendió un prolongado proceso para sentirse parte de este país latinoamericano, y allí encontró una profunda conexión con el rap chileno, que se convirtió en un ancla en su vida. El rap ha desempeñado un papel fundamental en su carrera musical.  Ana expande en su resistencia a encasillarse como "rapera" y cómo la confianza de los artistas puede tambalear en ocasiones, porque no siempre se tiene certeza acerca del mensaje que se comunica a través del arte. Para ella, la clave de mantener un propósito claro radica en tener referentes sólidos a los que recurrir cuando la seguridad flaquea. Además, como madre de dos hijos con padres diferentes, ha construido relaciones positivas con ambos y sus respectivas parejas, y a pesar de las ocasionales críticas, como mujer y madre soltera, encuentra plenitud y felicidad en su vida tal como es en el presente. Ana Tijoux ha descubierto en el arte una vía para expresar sus pensamientos y emociones, y la vida misma ha sido una fuente de inspiración. Recomendaciones: Música: 1977 de Ana Tijoux, Tania de Ana Tijoux, Tablas hindú (género), The Alchemist (rapero), Ryuichi Sakamoto (pianista y compositor), Nina Simone, Victor Jara, Violeta Parra, Flor del Rap. Película: El último emperador ¡Continuemos la conversación en Instagram! Síguenos en @mslauragomez y @barajaesopodcast. ¿Te gustó el episodio? Si te gustó déjame un rating ★★★★★ y un comentario. --- Send in a voice message: https://podcasters.spotify.com/pod/show/baraja-eso-podcast/message

British singer-songwriter and composer Rebecca Poole's story is one of a musical journey that began as a child on a farm in Oxfordshire, England.  The family lived in a house on an estate owned by Ian Fleming, the creator of James Bond.  Their simple farm home was always filled with music, two of her brothers became professional musicians, her mother sang a bit and she also had an aunt and uncle who played gypsy jazz professionally.   Choosing initially to take a different tack, Rebecca became an avid writer of poetry and loved the creative arts and painting which she studied in college.  Though she never formally studied music, she eventually became interested in singing after hearing a recording of Nina Simone and also listening to other great jazz vocalists.  Friends encouraged her to sing with a contemporary/pop band that playing gigs during après ski in Zermatt, Switzerland, where in the evenings she also sang at a jazz club she discovered in the town.  But despite all that jazz influence, Rebecca's path led her to the commercial realm. Changing her name professionally to Purdy, she  recorded two widely acclaimed albums and garnered a large following. Her instincts, however, were telling her to return to her jazz roots. So for now, she's set the Purdy moniker aside, and returned to using her birth name, Rebecca Poole.  Her new album called “Dreamers Ball” is the main focus of my conversation about Rebecca's fascinating musical journey.

durée : 00:59:44 - Banzzaï du mardi 14 novembre 2023 - par : Nathalie Piolé -

Bescheuert? Irre? Genial? In der neuen Folge von "Pop nach 8", dem Pop-Podcast aus Berlin, sprechen Marty und Andy über Musikerinnen und Musiker, bei denen man nicht ganz sicher sein kann: Ist das gut, ist das schlecht, ist das crazy? Ski Aggu, der Mann mit der Skibrille, spielt in dem Zusammenhang eine Rolle. Aber auch Nina Simone, die Ausnahmesängerin, die tragisch durchs Leben torkelte. "Pop nach 8", überall dort, wo es Podcasts gibt. Und direkt bei popnach8.berlin Kontakt: mail@popnach8.berlin

Nina Simone, Sharon Minemoto, Sean Mason, Charlie Halloran & the Tropicales, Maya Dunietz,Philippe Côté, François Bourassa, Solidaridad, Malleus Trio, The Angelica Sanchez Nonet, Mary Halvorson, Liv Andrea Hauge Ensemble, Idris Ackamoor & The Pyramids, OKAN, and Audrey Ochoa.Playlist: Nina Simone - You've Got to LearnSharon Minemoto - Color ContrastSean Mason - Final VoyageCharlie Halloran & The Tropicales - The Rhythm We WantMaya Dunietz, featuring New Day Rag (feat. Avishai Cohen & Yonatan Voltzok - New Day RagPhilippe Côté, François Bourassa - TrucSolidaridad - YYZMalleus Trio - TelescopesThe Angelica Sanchez Nonet - RunMary Halvorson - The GateLiv Andrea Hauge Ensemble - Everything Will Be AlrightIdris Ackamoor & The Pyramids - Nice It UpOKAN - GuerreroAudrey Ochoa - Have A Cry

Victory is a singer who hails from Detroit, Michigan. Many say her music is a fusion between Soul music and Folk Music in the style of Tracy Chapman and Nina Simone. Victory joins Tavis to share her musical vision, career and sound.

Grande année musicale s'il en est !TRACKLISTThe Clash - Should I Stay Or Should I GoYaeji - Easy breezy Vegyn - Halo Flip (ft. Lauren Auder)Mount Kimbie - Dumb Guitar Le disque de 19h22 (envoyez votre proposition, un morceau aux couleurs Nova Club, à @davidblot sur Instagram!) :Art of Noise - Moments In Love The Doors - Break On Through (To The Other Side)The Velvet Underground - Sunday Morning Smokey Robinson & The Miracles - I Second That Emotion The Marvelettes - The Hunter Gets Captured By The GameJames Brown - Cold Sweat Alton Ellis & The Flames- Rock SteadyThe Uniques - People RocksteadyDerrick Harriott - The Loser Dandy Livingstone - Rudy, A Message To YouThe Paragons - The Tide Is High Desmond Dekker - 007 (Shanty Town)John Barry - Space March (Capsule In Space)Herb Alpert & The Tijuana Bass - Casino RoyaleFrankie Valli & The Four Seasons - Beggin'The Rolling Stones - 2000 Light Years From Home The Box Tops - The Letter The Kinks - Waterloo Sunset Miriam Makeba - Pata Pata The Beatles - A Day In The Life Nina Simone - Don't You Pay Them No Mind Aretha Franklin - A Natural Woman (You Make Me Feel Like) Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Una mujer única en su fuerza: la de su voz inigualable, que la convirtió en un icono a través de las décadas, y la de su incansable compromiso. La cantante, que comparte aniversario de fallecimiento con Prince, dedicó su vida a luchar por los derechos humanos y utilizó su altavoz para defender la igualdad de la población afroamericana en una de las épocas más hostiles de la historia. NINA SIMONE. El Vuelo de Yorch es un programa que se comparte con: - Rebote FM: https://www.rebotefm.com/ - Turia 78 Radio: https://www.turia78.com/ - SI FM: https://sifmradio.es/ - Candil Radio: https://candilradio.com/ - Portu Radio: https://porturadio.org/ - Podcast Aragón: https://podcastaragon.es/ - Formula Disco y Radio TX: https://www.radiotx.es/

Pour les 30 ans de Radio Campus Grenoble, une sélection Intrinsèque de l’an 1993: Avec: Ntm, Julos Beaucarne, Juliette, Nina Simone, A tribe called quest, Krs One, Cypress Hill, Marc Ogeret et Héléne Martin, Jean Vasca, Rachid Taha, Lyrical Tom,... Continue Reading →

On Episode 144 of the RETROZEST podcast, Curtis continues and concludes a celebration the 45th Anniversary of the premiere of BATTLESTAR GALACTICA! This show is an American science fiction media franchise created by Glen A. Larson. It began with the original television series in 1978, and was followed by a short-run sequel series (Galactica 1980), a line of book adaptations, original novels, comic books, a board game, video games and a reboot series. Assisting Curtis in this endeavor with an exclusive interview is the composer and conductor of the score for BSG, STU PHILLIPS! Stu and Curtis had a great discussion about the music score for BSG, and the many other aspects of his long career. With Colpix Records, Stu produced high-charting hits for James Darren, Nina Simone, The Skyliners, Shelley Fabares, and The Monkees. He also furnished music for Columbia's television series, including The Donna Reed Show (with Fabares) and The Monkees. In the mid-1960s, he worked for Capitol Records and created, produced and arranged for the easy listening studio orchestra the Hollyridge Strings. In the late 1960s and early 1970s, Phillips continued scoring films and television series including music for the films Beyond the Valley of the Dolls (1970), The Seven Minutes (1971) and the television series Get Christie Love!. In 1974, he began working at Universal Studios scoring television series; Glen A. Larson made extensive use of his compositions. During this time, he scored music for the television series Switch, McCloud, The Hardy Boys/Nancy Drew Mysteries, Quincy M.E. and (of course) Battlestar Galactica. He also composed music for the television series The Amazing Spider-Man. After moving to 20th Century Fox Television, Stu composed music for The Fall Guy and Knight Rider. Be sure and pick up a copy of Stu's autobiography, Stu Who? Forty Years of Navigating the Minefields of the Music Business from his website (autographed) or from Amazon. BTW, If you are looking for a cool BSG Uniform Shirt for a costume, please visit judysemporium.com. They have both Colonial Warrior (beige) and Colonial Officer (blue) replica shirts for less than $40! Incidentally, you may help the RetroZest podcast by purchasing a unique BATTLESTAR GALACTICA T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/bsg. Browse the entire store at store.retrozest.com/home. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

Notre voyageur de l'improbable, Paul Lucas, est accompagné du musicien de l'improbable, Adrien BVO de Bon Voyage Organisation. TRACKLISTSébastien Tellier - L'amour et la violence Jamila Woods - Still George Riley - Satisfy YouMaiya The Don - BodyLe disque de 19h22 (envoyez votre proposition, un morceau aux couleurs Nova Club, à @davidblot sur Instagram!) :Alltta - HonorificabilitudinitatibusNina Simone - My Baby Just Cares For Me (Live Montreux 76)Whitney Houston - I Wanda Dance With Somebody Big Band Katowice - Ballada dla AlicjiSparks - Tryouts for the Human Race Pierre III - Nonsense Eli Escobar - Daywun Doja Cat - Agora Hills Alice Coltrane - Keshava Murahara Gil Scott-Heron - Lady Day and John Coltrane Bobby Gentry - Thunderbolt In The Afternoon - Ode To Billy Joe Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Singer and songwriter Nina Simone wowed audiences as the “High Priestess of Soul” and an advocate for social justice. These inspiring quotes reveal her love and loyalty to the fight for change during the height of segregation. _____________ 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

Vous aimez l'Histoire et les récits de Virginie Girod ? Soutenez-nous en laissant étoiles et commentaires sur votre plateforme d'écoute préférée !

The first episode of season two of "Let's Get Candid" with host Ziggy Fulford and co-host Lori Hall welcomed international vocalist Tess Charles as their guest. Tess Charles, hailing from the Capital Isle of Grand Turk in the Turks & Caicos Islands and with Jamaican and Vincentian heritage, shared her remarkable journey to stardom. Her stage name, TESS, carries a special meaning as it stands for "Tell Someone Something," a phrase popularized by local residents who encouraged sharing information with the police following a tragic incident in 2013. Despite holding a degree in Tourism and Hospitality Management and having a promising career in the hotel industry, Tess felt a calling that she could no longer ignore. After three years of headlining TCI's hottest events and successfully serving as the executive producer of her first Jazz and Soul show in November 2015, TESS made the bold decision to transition into a full-time performer.While she channels the soulful tunes of legends like Nina Simone and Ella Fitzgerald, TESS draws inspiration from her island influences to create her original music. Her versatility is evident as she delves into Soca and Rip Saw, releasing her self-written track "Daa'n My Business" on the "Grace Bay Riddim," produced by Jovano "Stutters" Robinson, a native of Middle Caicos, TCI. Tess Charles is a multi-talented artist who refuses to be confined to a single genre. She remains dedicated to her love for Jazz and Soul, and she aims to keep the world grooving to her music while introducing them to the distinctive TCI flavor of Rip Saw. This episode of "Let's Get Candid" provided a captivating glimpse into Tess Charles's journey, her resilience, and the power of embracing one's true calling despite the odds. The show also features a special segment called “Whatchu Know about us? Where the host and guest answer random questions about a bowl. No topic is off the table with Let's Get Candid. Let's Get Candid releases new episodes every Sunday at 8pm eastern. For an opportunity to place an ad on the show and promote with us; please contact LetsGetCandid1@gmail.com SUBSCRIBE TO CHANNEL: https://www.youtube.com/c/OpenThought FOLLOW THE LET'S GET CANDID SHOW: INSTAGRAM | https://instagram.com/LETS.GETCANDID FACEBOOK | https://www.facebook.com/OpenThoughtTV SPOTIFY | https://open.spotify.com/show/2trZXXJZ9R92ZbeMHVv4OO GOOGLE PODCASTS | https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy85MDhiYWRjYy9wb2RjYXN0L3Jzcw APPLE PODCASTS | https://podcasts.apple.com/tc/podcast/lets-get-candid-podcast/id1619002609 #LetsGetCandid #TessThePerformer #LorenHall #MarryFulford #TurksandCaicosTVShow

Vous aimez l'Histoire et les récits de Virginie Girod ? Soutenez-nous en laissant étoiles et commentaires sur votre plateforme d'écoute préférée !

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 influence that Nina Simone and Langston Hughes have had on American music, literature, and culture can hardly be overstated. However, the relationship between these two figures has received little to no attention from scholars to date, despite their long history of collaboration. W. Jason Miller (NHC Fellow, 2022–23) is conducting research into this partnership in order to inform new understandings about the intersections between art and politics in the Black Arts Movement of the mid-twentieth century.

durée : 00:29:16 - Poésie et ainsi de suite - par : Manou Farine - Proche des poètes, Nina Simone a créé un style qui s'affranchit des catégories, incrustant les notes de Bach ou Chopin dans ses morceaux, renversant les paroles de Bob Dylan. Libre, sans peur, follement aimée, Nina reste pourtant la petite fille blues de son premier album. - invités : Valérie Rouzeau Poétesse

A special edition for Black History Month celebrating the lives and music of black women. Michael Berkeley revisits some of the many inspiring guests from the last few years who chose music written or performed by black women, and who have made their own important contributions to black history: artists Helen Cammock and Theaster Gates, writers Kit de Waal, Nadifa Mohamed and Isabel Wilkerson, jazz saxophonist YolanDa Brown, broadcaster Johny Pitts, and Kadiatu Kanneh-Mason, mother of seven brilliant young musicians including 2023 BBC Proms stars cellist Sheku and pianist Isata. Their choices range from music by Florence Price to performances by Nina Simone and soprano Jessye Norman. Producer: Graham Rogers

durée : 00:05:34 - Tendez l'oreille du samedi 21 octobre 2023 - par : Christophe Dilys - Il existe un mythe : celui de l'artiste de jazz qui reçoit sa musique comme une lumière divine, apportée par une vie torturée. C'est vrai pour certaines et certains, peut-être moins pour d'autres. Une constante néanmoins : les heures de travail et de pratique. Nina Simone à la Juilliard School NY.

Emmy award-winning singer and composer Lisa Simone is touring Australia with a tribute show to her legendary singer-songwriter and pianist mother Nina Simone with her tour 'Keeper Of The Flame' A Daughters Tribute to Dr. Nina Simone. While carrying a torch to Nina's repertoire, Lisa has endeavoured to come to terms with her notoriously difficult mother. Lisa released her first solo album All is Well in 2013, and co-produced the 2016 Oscar-nominated Netflix documentary about her mother's life, What Happened, Miss Simone?

Sydney Rogers, also known as Miss Barbie-Q, has been doing drag since 1992. Today she is out as a transwoman but it took a long time to accept this part of herself. To understand how she got where she is today, we start the conversation discussing how she learned about sexuality in childhood (4:23), the complex relationship with her mother (11:00), and how certain childhood traumas continue to shape her sexual experiences today (18:00). After that we dive into what drag revealed about her when she first started performing (26:30) but also how she was able to hide parts of herself through it (30:58). Sydney shares what led to her homelessness and how she dug deeper into her addiction (38:00). We then explore her performance of Nina Simone's 'Ain't Got No' and the significance it holds for her (43:00). To finish Sydney shares how she got sober (47:00), the process of coming out as a non-binary then a transwoman (50:10), and who she is today (53:55).

Singer-songwriter Gilbert O'Sullivan continues to grace audiences around the globe with his wit, warmth, whimsy and musical genius as he has been doing since 1970 when he stirred UK audiences with Nothing Rhymed and then captured and broke hearts around the world with Alone Again, (Naturally.) The song has been covered over 75 times, including by Nina Simone, Neil Diamond, The Pet Shop Boys and Elton John, Michael Buble and Diana Krall (A duet about being alone? OK.)Gilbert stood out not only for his inventively catchy and wrenching songs but also for his carefully crafted personal style. Initially inspired by silent film stars and later by college lads. He would emboss outfits with a large letter G. (Gilbert U. Fine school.)And still today, Gilbert continues to set a distinctive path with new music, duets with today's stars and world tours. He'll be hitting the west coast in November with exclusive dates, including L.A.'s Troubadour.Gilbert talks with us about his influences, his musical style and philosophy, and his deep and abiding appreciation for fans who have so embraced his songs. We also get into his ground-breaking court cases which won him back his catalogue of songs from manager, Gordon Mills and took on the new world of sampling when Biz Markie “borrowed”  Alone Again (Naturally). Gilbert had said no because he does not want that song to be used comedically.Oh, and what's Clair doing now? Well, she is no longer in need of a babysitter and we have an update!In recommendations, Fritz saw The Burial (2023) in theaters. Weezy has been listening to two podcasts: Grapevine and We Don't Talk About Leonard and Gilbert does not own a cell phone but thanks to his daughter's tech support, he is enjoying the podcast, McCartney: A Life In Lyrics.Path Points of Interest:Gilbert O'SullivanGilbert O'Sullivan: Live in the USA Sizzle ReelGilbert O'Sullivan DocumentaryGilbert O'Sullivan on WikipediaGilbert O'Sullivan on TwitterGilbert O'Sullivan on FacebookGilbert O'Sullivan Upcoming Tour DatesGilbert's New Album, DrivenThe BurialGrapevine We Don't Talk About LeonardMcCartney: A Life in Lyrics

"Heart Like Thunder" The Colorado-born, Brooklyn-based Hallie Spoor is a true artist. And she's a true athlete. And she knows that to be either one of those things, you've got to put in the reps. Trust me when I tell you, Spoor has put in the reps.The trained opera singer and former collegiate soccer player is well aware of the hard work that's needed to hit a note that carries to the clouds or kick a soccer ball that soars right alongside it. Hallie Spoor's voice is wondrous, elegant and filled with limitless beauty. Her new long player and her fourth overall, is Heart Like Thunder and it's nothing short of spellbinding. Bringing to mind everyone from to Nina Simone to Beth Orton, Spoor's vocal command is a cascading blend of power and grace and her compositions are moving blends of indie folk and rolling jazz.  www.halliespoormusic.com www.bombshellradio.com www.embersarts.com www.stereoembersmagazine.com www.alexgreenbooks.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

As broadcast October 13, 2023 with plenty of conflicting vibes in tow.  Today is obviously Friday the 13th, a bad luck day in most peoples' minds, but Danno grew up in a household where his mother, born on Friday January 13, 1956, always considered it a lucky day.  So, as dedication to Danno's fierce protector and the lover of vintage and scary movies in his life, we had a bit of a bifurcated playlist tonight, with parts 1 & 2 all witches, and stepping on cracks while we finished with a 2nd hour of good luck, positive vibes, and just general sunlight to also help all of you get over it if today freaks you out a bit.#feelthegravityFriday the 13th XLIVOct 13, 2023Tracklist (st:rt)Part 1 (00:00)Harold Melvin & The Blue Notes – Bad LuckKelly Finnigan – TroubleAaron Frazer – Bad NewsThe Supremes – Bad Weather (Reflex Revision)Steely Dan – Deacon Blues Part 2 (32:49)Adekunle Gold – SinnerSerebii ft Skud Gambosi – Don't You Feel LuckyArjuna Oakes & Serebii - SatellitesGenevieve York feat Teo Oliveras – Better at Bad ThingsMargot Guryan – I'd Like To See The Bad Guys WinHana Eid – WeirdDehd – LuckyNilufer Yanya – Same Damn LuckDehd - Desire Part 3 (60:36)Aretha Franklin – Dr. Feelgood (Live in The Netherlands, 1968)Etta James – At LastClassics IV – SpookyOsole – Good DayLEISURE – All The Good Times Never DieThe Mighty Bop – Feelin' Good!Beyond Luck – Nature's Meditation feat Keter Darker Part 4 (91:16)Sharon Jones & The Dap-Kings – He Said I Can (Live at The Apollo)Emma Donovan & The Putbacks – My GoodnessRichard Swift – Lady LuckBlondage – Lucky Black SkirtJungle – Can't Stop The StarsUniversal Togetherness Band – Lucky Stars 

Welcome to Episode 1598, From Serial Killer to the World's Hottest Wine Trend with Alice Feiring and Felicity Carter. This is the wine2wine Business Forum 2022 Series. The sessions are recorded and uploaded on Italian Wine Podcast. wine2wine Business Forum is an international wine business event, held annually in Verona, Italy since 2014. The event is a key reference point for wine producers and a diverse variety of wine professionals gather to develop and expand their wine business worldwide. Abstract: In Alice Feiring's new memoir, “To Fall in Love, Drink This”, she does what she has become famous for, linking wine with the shocking, surprising and inconceivable. Case in point: In this book we see her escaping from a serial killer, spending time in one of America's most notorious prisons, visiting concentration camps, and telling off famous spirit producers. Yes, there's joy, loss of unconditional love, Nina Simone and dirt collected in jars as an incredible expression of terroir. It is her coming-of-age story linked to her subject, wine, how she has championed the wines now taking the world by storm. Heralded editor and master storyteller, Felicity Carter is charged with interviewing Feiring. In the session, Carter will explore what it takes to overcome wine media controversy, tell a good wine story about wine, and champion the underdogs until the wine world sits up and takes notice. Come along and find out the power of storytelling – and why the wine world needs to embrace greater transparency if it wants to resonate with modern drinkers. More about today's speaker: Alice Feiring Journalist and essayist Alice Feiring was proclaimed “the queen of natural wines” by the Financial Times. Feiring is a recipient of a coveted James Beard Award for wine journalism, among many others. She has written for newspapers and magazines including The New York Times, New York Magazine, Time, AFAR, World of Fine Wine, and the beloved winezine, Noble Rot. She has also appeared frequently on public radio. Her previous books include Natural Wine for the People, Dirty Guide to Wine, For the Love of Wine, Naked Wine: Letting Grapes Do What Comes Naturally, and her controversial 2008 debut, The Battle for Wine & Love or How I Saved the World from Parkerization. Alice lives in New York and publishes the authoritative natural wine newsletter, The Feiring Line. Connect: Instagram: @alice.feiring Facebook: https://www.facebook.com/alice.feiring Twitter: @alicefeiring Linkedin: https://www.linkedin.com/in/alice-feiring-47658/ More about today's moderator: Felicity Carter Journalist and editor Felicity Carter is the Executive Editor at The Drop, the content arm of Pix. Previously she worked for Meininger Verlag, Europe's biggest wine and spirits publisher, where she built Meininger's Wine Business International into the world's only global wine business magazine, with correspondents from 30 countries and subscribers in 38. Before arriving in Europe she wrote for The Sydney Morning Herald and The Age newspapers in her native Australia, and is now an occasional contributor to The Guardian USA. She is an international wine judge and speaker, and editorial consultant to Liv-ex, the London-based fine wine exchange. Connect: Instagram: @carter.felicity Twitter: @FelicityCarter LinkedIn: https://www.linkedin.com/in/felicity-carter-a5754380/ _______________________________ Let's keep in touch! Follow us on our social media channels: Instagram www.instagram.com/italianwinepodcast/ Facebook www.facebook.com/ItalianWinePodcast Twitter www.twitter.com/itawinepodcast Tiktok www.tiktok.com/@mammajumboshrimp LinkedIn www.linkedin.com/company/italianwinepodcast If you feel like helping us, donate here www.italianwinepodcast.com/donate-to-show/ Until next time, Cin Cin! Thanks for tuning in! Listen to more stories from the Italian Wine Community here on Italian Wine Podcast!

Grammy® Honoree, Hollywood Walk of FameLet's Celebrate a Golden PLUS Anniversary of Kool & The Gang! Robert's NEW Brand is.  La Kool. lKool had always envisioned having his own brand out of Europe. For many years, he sought out Grand Cru Vineyards from owners that have been selling for generations and decided to work with Paul Berthelot, a Multi-Vintage Grand Cru Producer since 1884. Kool & the Gang, officially launched in 1969, after performing for five years under various band titles, has influenced the music of three generations and the band has become true recording industry legends. Thanks to iconic songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albumsIn 1969, Kool & the Gang released their self-titled debut album/ It was the introduction to a theme, music is the message, that Kool & the Gang stands by today. The instrumental album was an expression of their deep love of music. It was also an introduction to their signature sound and the fierce horn arrangements created by Khalis, Dee Tee, and Spike. Their debut album spawned their first Billboard R&B charted single Kool & the Gang and later Let the Music Take Your Mind. In 1970, their audacious sophomore set Live at the Sex Machine peaked at #6 on Billboard's R&B chart and yielded three hit singles: Funky Man, Who's Gonna Take the Weight, and I Want to Take You Higher. Next came The Best Of Kool & the Gang Featuring The Penguin, Kool & the Gang Live at PJ'S, Music Is The Message, and Good Times, all of which helped solidify a sound that wowed not only fans but such contemporaries as James Brown and Nina Simone.e 80's would see them dominate the mainstream, starting with the double platinum-selling album Celebrate (driven by the international monster hit Celebration, which spent six weeks atop the R&B chart and became a #1 Pop single). Celebration, which played as the American hostages returned from Iran, remains de rigueur at joyous occasions worldwide. The smashes Get Down On It, Take My Heart, Let's Go Dancing, Joanna, Tonight, Misled, the #1 R&B, #2 Pop giant Cherish and the #1 R&B anthem Fresh (these last three from the multi- platinum LP Emergency) solidified the group's international stardom. Kool & the Gang landed global commercial endorsements, supported countless charitable causes and were the only American group to participate in Band Aid's 1984 Do They Know It's Christmas project for famine victims in Africa. With the explosion of hip-hop in the 90's, Kool & the Gang's incredible catalog of grooves made them DJ favorites. They were second only to R&B icon James Brown as sources of rap music samples. Today, the group enjoys global fame and recognition and a following that spans generations due in part to the groups widely sampled catalogue.© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

durée : 01:03:07 - Club Jazzafip - On a tous besoin d'un peu de magie dans nos vies et dans nos coeurs. Une émission dédiée à l'illusion et aux forces occultes, avec notamment au programme Herbie Hancock, Miles Davis, Troublemakers, Nina Simone, Judy Garland...

Mamileiros e mamiletes, o que inspira o Mamilos Cultura de hoje é o documentário ‘Summer of Soul', disponível no Star+. Ao longo de seis semanas no verão de 1969, apenas a 160 quilômetros de Woodstock, aconteceu o Festival Cultural do Harlem, filmado no Monte Morris Park. As gravações ficaram 50 anos guardadas em um porão, já que o produtor do filme não encontrou ninguém interessado em distribuí-lo. Então, ninguém nunca tinha visto as imagens até o momento. ‘Summer of Soul' (...ou, Quando A Revolução Não Pode Ser Televisionada) é o documentário que mostra a importância da história e o testamento do poder curativo da música em tempos de crise, tanto passada quanto presente. A obra conta com performances de lendas do cenário fonográfico, incluindo Stevie Wonder, Nina Simone, B.B. King, Sly and the Family Stone, corais de Gospel, nomes da Motown, do jazz e do blues e grupos latinos do lado caribenho do bairro. ‘Summer of Soul' levou para casa o Prêmio do Júri e o Prêmio do Público no Festival de Sundance e o Oscar de Melhor Documentário. Pra falar sobre as reflexões que esse filme inspirou, Cris Bartis recebe Cris Naumovs. Dá o play e vem com a gente! _____ DORFLEX Há 5 anos transformamos o nosso sonho em projeto, e o Mamilos virou também uma empresa. Com essa escolha vieram uma sucessão de desafios. Como desenhar produtos casando o que a gente acredita e o que o mercado quer? Quanto cobrar? Como vender? Como encontrar as pessoas certas pra tirar os sonhos do papel? Como capacitar e motivar essas pessoas? Qual é o melhor regime tributário? Como planejar fluxo de caixa? Ufa, empreender às vezes é uma grande dor de cabeça. Na busca pelos seus sonhos sua jornada não precisa ser dolorida. O importante é se sentir bem fazendo o que gosta. Dorflex UNO age em minutos no combate à dor de cabeça e a enxaqueca. Vai em frente e deixa a dor com Dorflex! Conheça a linha de produtos em Dorflex.com.br Dorflex UNO é analgésico e antitérmico. Dipirona monoidratada. Se persistirem os sintomas, o médico deverá ser consultado. DORFLEX® UNO (dipirona monoidratada). Indicação: analgésico e antitérmico. MS 1.8326.0460. O USO DO MEDICAMENTO PODE TRAZER ALGUNS RISCOS. Leia atentamente a bula. SE PERSISTIREM OS SINTOMAS, O MÉDICO DEVERÁ SER CONSULTADO. *Início de ação a partir de 30 minutos. Referências: 1 - Bula de Dorflex UNO - versão profissional da saúde. SET/2023 - MAT-BR-2304827. _____ FALE CONOSCO . Email: mamilos@mamilos.me _____ CONTRIBUA COM O MAMILOS Quem apoia o Mamilos ajuda a manter o podcast no ar e ainda participa do nosso grupo especial no Telegram. É só R$9,90 por mês! Quem assina não abre mão. https://www.catarse.me/mamilos _____ Equipe Mamilos Mamilos é uma produção do B9 A apresentação é de Cris Bartis e Ju Wallauer. Pra ouvir todos episódios, assine nosso feed ou acesse mamilos.b9.com.br Quem coordenou essa produção foi Beatriz Souza. Com a estrutura de pauta e roteiro escrito por Cris Bartis e Ju Wallauer. A edição foi de Mariana Leão e as trilhas sonoras, de Angie Lopez. A coordenação digital é feita por Agê Barros. O B9 tem direção executiva de Cris Bartis, Ju Wallauer e Carlos Merigo. O atendimento e negócios é feito por Telma Zennaro.

durée : 00:53:24 - Very Good Trip - par : Michka Assayas - Very Good Trip sera toujours aussi surprenant avec des trésors sonores retrouvés à la faveur de fouilles archéologiques.

Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : AutochtoneLa langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au Nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi.Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band).À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass.Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023).Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ».The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchainement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain.Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).

Maya Azucena's dynamic 4-octave vocal range explores the passionate grit of Blues, Gospel and Rock, while easily entering the warmth and storytelling of the Singer-Songwriter. Regardless of genre, all of Maya's performances seem to come from a deep place in her heart, affecting the audience in an emotional way. Among several awards for her music and humanitarian outreach, Azucena contributed her voice to a feature performance with Stephen Marley, which earned a Grammy for Best Reggae Album of the Year, and can be heard on her latest 2022 Stephen Marley collaboration, “Celebrating Nina: a Reggae Tribute to Nina Simone,” on Ghetto Youths record label. Maya is a critically acclaimed Brooklyn-native, avid touring artist and songwriter. She has 3 full-length solo albums under her belt, plus numerous digital singles and countless recordings, as both writer and featured performer. Azucena collaborates extensively on stage and recordings with both national and international stars. Her collaborations have included diverse artists such as rock band Brass Against, guitar legend Vernon Reid (Living Colour), jazz greats Marcus Miller, Jason Miles, soulful house producers DJ Spinna, DJ Logic, alt-pop group Fitz and the Tantrums, and Croatian super-star Gibonni. Performing 40+ countries throughout her career, recent concerts include representing America at the International Expo in Dubai 2022; a 17-country tour of Europe 2019; over a dozen Humanitarian tours to countries such as Qatar, Philippines, El Salvador, Myanmar, and Tanzania, as Cultural Ambassador for U.S. State Department; Hollywood Bowl (Los Angeles), Essence Fest in New Orleans, Blue Note New York, plus countries like Turkey, Russia, India, Brazil, Croatia, and South Africa. Maya is well known for her humanitarian outlook and projects around The Globe which include special focus on Women's & Youth Empowerment and Domestic/Sexual Violence. Based on a personal commitment to help the world through her talent, most of Azucena's songs are anthems that lend a voice to self-worth, empowerment, overcoming obstacles, and stepping into our “fearless” selves. Maya Azucena is excited to present “I Am Enough,” a 6-song EP recording produced by Timo Ellis, whose “Prince-like” musical diversity brings out the soul of her songwriting and voice. Having worked with the likes of Mark Ronson, Yoko Ono, Cibo Matto and Joan As Policewoman, he incorporates elements of Gospel, Blues and Rock, to manifest Maya's anthems of empowered survival. mayaazucena.com/ @mayaazucena/ Maya Azucena on Spotify Maya Azucena on Apple Music https://www.youtube.com/@MayaAzucena1