Podcasts about Pennebaker

What if one of the most powerful medicines for longevity, resilience, happiness, cognitive health, and disease prevention wasn't found in a supplement, a prescription, or a cutting-edge biohack—but in the people around you? In this powerful solo episode, Darin Olien dives into one of the most overlooked health crises of our time: loneliness. Drawing from the landmark 85-year Harvard Adult Development Study, the U.S. Surgeon General's loneliness epidemic report, Blue Zones research, neuroscience, and evolutionary biology, Darin reveals why meaningful human connection may be one of the strongest predictors of health and longevity ever discovered. From oxytocin, cortisol, inflammation, vagal tone, and nervous system regulation to suburban design, social media, and the collapse of community structures, Darin exposes the hidden biological costs of isolation—and offers a practical roadmap for rebuilding the human connections we were biologically designed to need.     What You'll Learn The stunning findings from Harvard's 85-year Adult Development Study Why relationships outperform wealth, genetics, diet, and exercise as predictors of well-being How loneliness increases the risk of premature death, dementia, heart disease, and stroke Why social isolation creates measurable biological stress responses The role of oxytocin in lowering inflammation and regulating stress How human connection affects the autonomic nervous system Why Blue Zone communities consistently prioritize social connection The biological difference between digital interaction and real human presence How modern architecture and technology contribute to loneliness Why community is a biological necessity—not a luxury Practical ways to rebuild meaningful relationships today How connection may be one of the most powerful health interventions available   Chapters 00:00:00 – Welcome to SuperLife 00:00:33 – Sponsor: Bite Toothpaste and reducing plastic waste 00:02:49 – The most powerful health study ever conducted 00:03:01 – Harvard follows 724 people for 85 years 00:03:40 – The surprising predictor of a long, healthy life 00:04:00 – Why relationships beat wealth, genetics, diet, and exercise 00:04:42 – The Surgeon General's loneliness epidemic warning 00:05:19 – Introducing the medicine you're not taking 00:05:53 – The health benefits of genuine community 00:06:21 – The fatal convenience of modern life 00:06:47 – Replacing human connection with digital connection 00:07:12 – Why modern convenience may be creating isolation 00:07:23 – Social isolation and premature mortality 00:08:02 – Loneliness and the equivalent of smoking 15 cigarettes a day 00:08:43 – Increased risks of heart disease, stroke, and dementia 00:09:10 – Why loneliness is a biological threat 00:09:52 – The science behind social isolation 00:10:11 – Sponsor: Manna Vitality 00:12:06 – Humans as the most socially dependent species 00:12:53 – Why connection regulates the nervous system 00:13:29 – The autonomic nervous system and social safety 00:13:56 – The brain's constant question: Am I safe? 00:14:03 – The biology of belonging 00:14:24 – The ventral vagal state explained 00:14:55 – Why connection creates measurable physiological changes 00:15:03 – What happens when isolation becomes chronic 00:15:52 – Oxytocin: far more than the "love hormone" 00:16:20 – Eye contact, touch, meals, and human bonding 00:16:42 – How oxytocin lowers stress and inflammation 00:17:04 – Why no supplement can replace connection 00:17:17 – The pharmacology of authentic human moments 00:18:06 – Free medicine hidden in plain sight 00:18:39 – Dan Buettner and the Blue Zones 00:19:29 – What the world's longest-lived populations have in common 00:19:36 – Okinawa's lifelong friendship circles 00:20:08 – Sardinia's active elders and social roles 00:20:40 – Greece's culture of connection and communal meals 00:21:03 – Why longevity wasn't hacked—it was lived 00:21:38 – Social connection as the foundation of daily life 00:22:01 – The shocking decline in face-to-face interaction 00:22:21 – Young people losing 70% of in-person social time 00:22:58 – How community was systematically dismantled 00:23:00 – Robert Putnam's Bowling Alone 00:23:49 – Doing life together versus doing life alone 00:24:05 – How suburban design creates isolation 00:24:49 – The built environment shapes human behavior 00:24:55 – Social media and the promise of connection 00:25:20 – Why digital connection fails biologically 00:25:33 – Social comparison, anxiety, and nervous system stress 00:25:49 – More connected online, more isolated in reality 00:26:03 – A call to action: treating relationships like health practices 00:27:00 – Practical ways to rebuild community 00:28:00 – Prioritizing people over convenience 00:29:00 – Deep conversations, presence, and intentional connection 00:30:00 – Reclaiming community in modern life 00:31:00 – Final thoughts on connection, belonging, and health 00:31:53 – Closing remarks and outro     Thank You to Our Sponsors Bite Toothpaste: Go to trybite.com/DARIN20 or use code DARIN20 for 20% off your first order Manna Vitality: Go to mannavitality.com/ and use code DARIN12 for 12% off your order.     Join the SuperLife Patreon: This is where Darin now shares the deeper work: - weekly voice notes - ingredient trackers - wellness challenges - extended conversations - community accountability - sovereignty practices Join now for only $7.49/month at https://patreon.com/darinolien     Find More from Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness     Key Takeaway "The longest-running study in human history reached a conclusion that should fundamentally change how we think about health: the quality of our relationships predicts our happiness, resilience, and longevity more than almost anything else. Human connection isn't a luxury, a personality trait, or a nice bonus when life slows down. It is biology. It is medicine. And in a world increasingly designed for isolation, rebuilding community may be one of the most important health decisions we ever make."     Bibliography/Sources: Primary Research — Loneliness, Social Isolation & Health Associated Press. (2023, May 2). Surgeon general: Loneliness poses health risks as deadly as smoking. PBS NewsHour. https://www.pbs.org/newshour/health/surgeon-general-loneliness-poses-health-risks-as-deadly-as-smoking Cacioppo, J. T., & Hawkley, L. C. (2009). Perceived social isolation and cognition. Trends in Cognitive Sciences, 13(10), 447–454. https://doi.org/10.1016/j.tics.2009.06.005 Holt-Lunstad, J., Smith, T. B., & Layton, J. B. (2010). Social relationships and mortality risk: A meta-analytic review. PLoS Medicine, 7(7), e1000316. https://doi.org/10.1371/journal.pmed.1000316 Office of the Surgeon General. (2023). Our epidemic of loneliness and isolation: The U.S. Surgeon General's advisory on the healing effects of social connection and community. U.S. Department of Health and Human Services. https://www.hhs.gov/sites/default/files/surgeon-general-social-connection-advisory.pdf Waldinger, R. J., & Schulz, M. S. (2010). What's love got to do with it? Social functioning, perceived health, and daily happiness in married octogenarians. Psychology and Aging, 25(2), 422–431. https://doi.org/10.1037/a0019087 Neuroscience — Oxytocin, Polyvagal Theory & Community Biology Carter, C. S. (1998). Neuroendocrine perspectives on social attachment and love. Psychoneuroendocrinology, 23(8), 779–818. https://doi.org/10.1016/S0306-4530(98)00055-9 Eisenberger, N. I., & Lieberman, M. D. (2004). Why rejection hurts: A common neural alarm system for physical and social pain. Trends in Cognitive Sciences, 8(7), 294–300. https://doi.org/10.1016/j.tics.2004.05.010 Heinrichs, M., Baumgartner, T., Kirschbaum, C., & Ehlert, U. (2003). Social support and oxytocin interact to suppress cortisol and subjective responses to psychosocial stress. Biological Psychiatry, 54(12), 1389–1398. https://doi.org/10.1016/S0006-3223(03)00465-7 Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company. https://wwnorton.com/books/9780393707007 Blue Zones Research Buettner, D., & Skemp, S. (2016). Blue Zones: Lessons from the world's longest lived. American Journal of Lifestyle Medicine, 10(5), 318–321. https://doi.org/10.1177/1559827616637066 Kreouzi, M., Theodorakis, N., & Constantinou, C. (2022). Lessons learned from Blue Zones, lifestyle medicine pillars and beyond. American Journal of Lifestyle Medicine. https://doi.org/10.1177/15598276221118494 Suzuki, M., Willcox, B. J., & Willcox, D. C. (2001). Implications from and for food cultures for cardiovascular disease: Longevity. Asia Pacific Journal of Clinical Nutrition, 10(2), 165–171. https://doi.org/10.1111/j.1440-6047.2001.00219.x The power of environment: A comprehensive review of the exposome's role in healthy aging. (2025). PubMed Central (PMC11858149). https://pmc.ncbi.nlm.nih.gov/articles/PMC11858149/ Social Capital & Community Decline Oldenburg, R. (1999). The great good place: Cafés, coffee shops, bookstores, bars, hair salons, and other hangouts at the heart of a community. Marlowe & Company. https://books.google.com/books?id=cK80BwAAQBAJ Putnam, R. D. (2000). Bowling alone: The collapse and revival of American community. Simon & Schuster. https://www.simonandschuster.com/books/Bowling-Alone/Robert-D-Putnam/9780743203043 Sbarra, D. A., Briskin, J. L., & Slatcher, R. B. (2019). Smartphones and close relationships: The case for an evolutionary mismatch. Perspectives on Psychological Science, 14(4), 596–618. https://doi.org/10.1177/1745691619826535 Twenge, J. M., Joiner, T. E., Rogers, M. L., & Martin, G. J. (2018). Increases in depressive symptoms, suicide-related outcomes, and suicide rates among U.S. adolescents after 2010 and links to increased new media screen time. Journal of Adolescent Health, 62(1), 78–85. https://doi.org/10.1016/j.jadohealth.2017.06.014 U.S. Bureau of Labor Statistics. (2020). American time use survey. U.S. Department of Labor. https://www.bls.gov/tus/ Pennebaker & Authentic Disclosure Brown, B. (2012). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent, and lead. Gotham Books. https://brenebrown.com/book/daring-greatly/ Pennebaker, J. W. (1997). Writing about emotional experiences as a therapeutic process. Psychological Science, 8(3), 162–166. https://doi.org/10.1111/j.1467-9280.1997.tb00403.x

Patchouli by Hové + Slow Train Coming (1979), Saved (1980), and Shot of Love (1981) and Chronicles: Volume One (2004) by Bob Dylan (1941- ) + D. A. Pennebaker's Don't Look Back (1967) + Martin Scorsese's No Direction Home (2005) with Jeff 5/29/26 S8E31 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

What if the anxiety, overthinking, people pleasing, emotional shutdown, hypervigilance, burnout, and relationship struggles you experience today… were never actually "you" to begin with? In this deeply personal and profoundly eye-opening solo episode, Darin Olien dives into the hidden nervous system programming formed between the ages of 0 and 8 that silently shapes our adult lives. Drawing from neuroscience, trauma research, attachment theory, epigenetics, somatic healing, and his own emotional breakthroughs, Darin explores how childhood experiences become subconscious operating systems that influence everything from relationships and stress responses to chronic disease and self-worth. This episode is a powerful roadmap toward healing. Darin breaks down the science behind trauma, the ACE study, nervous system dysregulation, emotional patterning, and neuroplasticity, while also sharing practical tools like somatic experiencing, expressive writing, EMDR, and Internal Family Systems to help listeners begin rewiring their emotional lives from the inside out. What You'll Learn How childhood experiences program the nervous system Why most adult emotional reactions are subconscious survival patterns The connection between trauma, stress hormones, and chronic disease How the nervous system stores emotional experiences in the body Why people pleasing, hypervigilance, burnout, and emotional shutdown develop The science behind neuroplasticity and rewiring the brain What the ACE Study revealed about childhood trauma and adult health How trauma impacts the amygdala, hippocampus, and stress-response systems Why emotional patterns are adaptations, not character flaws How epigenetics can pass trauma responses across generations The role of somatic experiencing in trauma healing Practical tools for emotional regulation and nervous system repair Chapters 00:00:03 – Welcome to SuperLife 00:00:32 – Sponsor: Bite Toothpaste and eliminating toxic plastic exposure 00:02:47 – Darin introduces emotional reactions and nervous system triggers 00:03:15 – A personal story about reacting vs responding in conflict 00:03:50 – Emotional shutdowns, rage, withdrawal, people pleasing, and overcorrection 00:04:19 – Darin's physical pain journey and emotional discoveries in 2025 00:04:42 – Birth trauma, childhood conditioning, and nervous system programming 00:05:04 – Why the ages of 0–8 are the most neurologically influential years 00:05:18 – Theta and delta brainwave states during childhood 00:05:55 – How children absorb emotional patterns without filters 00:06:22 – Childhood experiences becoming subconscious operating systems 00:06:44 – Adults unknowingly living through a 5-year-old nervous system 00:07:12 – Why this episode became deeply personal for Darin 00:07:35 – The neuroscience behind stress responses and emotional conditioning 00:08:17 – Brain development, neuroplasticity, and subconscious programming 00:09:13 – How the HPA axis, amygdala, and prefrontal cortex are shaped early in life 00:09:45 – Core childhood questions that program the nervous system 00:10:29 – Why adult stress responses originate in childhood environments 00:11:05 – Research showing childhood adversity alters brain structure and chemistry 00:11:18 – The ACE Study explained 00:11:49 – Why patients losing weight became emotionally overwhelmed 00:12:18 – The ten categories of adverse childhood experiences 00:13:02 – "The health crisis of America begins in childhood" 00:13:36 – How adverse childhood experiences increase disease risk 00:14:03 – Suicide, alcoholism, autoimmune disease, depression, and trauma correlations 00:14:37 – Chronic disease as a nervous system issue 00:15:04 – Survival mode, inflammation, hormonal dysregulation, and emotional scarcity 00:15:42 – Self-sabotage and emotional coping patterns explained 00:16:02 – Why your emotional patterns are not character flaws 00:16:22 – Childhood survival adaptations and nervous system intelligence 00:16:52 – Hypervigilance, people pleasing, rage, emotional shutdown, and fear 00:17:05 – Sponsor: Manna Vitality and frequency-based wellness 00:18:59 – Epigenetics and inherited trauma responses 00:19:22 – Cortisol regulation genes and hyperactive stress responses 00:19:51 – Holocaust survivors, inherited trauma, and generational nervous systems 00:20:19 – Why healing requires nervous system awareness—not just intellectual understanding 00:20:45 – "You were never supposed to get over it—you were supposed to heal from it" 00:21:01 – Real-life examples of subconscious nervous system programming 00:21:16 – Why receiving compliments can feel unsafe 00:21:30 – Darin's personal struggle with overachievement and scarcity programming 00:22:03 – Emotional neglect, chronic striving, and feeling "not enough" 00:22:16 – The nervous system roots of burnout and exhaustion 00:22:23 – Hair-trigger emotional reactions and hyperactive amygdala responses 00:22:38 – Chronic self-abandonment and losing personal boundaries 00:22:52 – Fear of intimacy, trust issues, and emotional safety 00:23:02 – "The body keeps the score" explained 00:23:22 – Trauma stored in posture, breath, digestion, immunity, and emotional regulation 00:23:43 – Harvard research on trauma-related brain changes 00:24:19 – The radical power of neuroplasticity and nervous system rewiring 00:24:48 – Why healing requires conscious participation 00:25:01 – Darin shares how healing changed decades of emotional pain 00:25:33 – Somatic Experiencing and Peter Levine's trauma work 00:25:57 – How animals discharge stress naturally 00:26:23 – Trauma as incomplete physiological responses frozen in the body 00:26:42 – Why humans suppress emotional discharge 00:27:16 – PTSD research and the effectiveness of somatic experiencing 00:27:41 – A step-by-step somatic grounding practice 00:28:14 – Why healing is more powerful with a regulated person beside you 00:28:38 – EMDR and reprocessing traumatic experiences 00:28:55 – Internal Family Systems and the "parts" inside the psyche 00:29:13 – Inner critics, overachievers, and nervous system adaptations 00:29:39 – Compassionately listening to emotional parts instead of suppressing them 00:29:51 – Expressive writing as a trauma healing practice 00:30:22 – The neuroscience behind emotional journaling 00:30:48 – A four-day expressive writing protocol for healing 00:31:05 – "You are not broken" 00:31:16 – Reprogramming the nervous system through love and safety 00:31:37 – Why deep healing happens in the presence of another regulated person 00:31:52 – Darin considers creating a future healing workshop 00:32:04 – Final reflections: "You are not what happened to you" 00:32:12 – Peace. Love. SuperLife. Thank You to Our Sponsors Bite Toothpaste: Go to trybite.com/DARIN20 or use code DARIN20 for 20% off your first order Manna Vitality: Go to mannavitality.com/ and use code DARIN12 for 12% off your order. Join the SuperLife Patreon: This is where Darin now shares the deeper work: - weekly voice notes - ingredient trackers - wellness challenges - extended conversations - community accountability - sovereignty practices Join now for only $7.49/month at https://patreon.com/darinolien     Connect with Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness Key Takeaway "The emotional patterns, fears, reactions, and coping mechanisms that run your adult life are often survival adaptations created by your nervous system during childhood. They are not your identity. They are not permanent. And through awareness, somatic healing, emotional processing, nervous system regulation, and conscious repetition, those deeply rooted patterns can be rewritten into something healthier, freer, and more aligned with who you truly are." Bibliography/Sources Neuroscience & Early Programming Agorastos, A., Pervanidou, P., Chrousos, G. P., & Baker, D. G. (2019). Developmental trajectories of early life stress and trauma: A narrative review on neurobiological aspects beyond stress system dysregulation. Frontiers in Psychiatry, 10, Article 118. https://doi.org/10.3389/fpsyt.2019.00118 Bolton, J. L., Short, A. K., Simeone, K. A., Daglian, J., & Baram, T. Z. (2019). Programming of stress-sensitive neurons and circuits by early-life experiences. Frontiers in Behavioral Neuroscience, 13, Article 30. https://doi.org/10.3389/fnbeh.2019.00030 Shonkoff, J. P., & Boyce, W. T. (2024). Toxic stress and developmental programming of the HPA axis. Annual Review of Developmental Psychology. https://www.annualreviews.org/journal/devpsych Teicher, M. H., & Ohashi, K. (2023). Childhood trauma and reduced hippocampal, anterior cingulate, and corpus callosum volumes. JAMA Psychiatry. https://jamanetwork.com/journals/jamapsychiatry van der Kolk, B. A. (2014). The body keeps the score: Brain, mind, and body in the healing of trauma. Viking / Penguin. https://www.penguinrandomhouse.com/books/313183/the-body-keeps-the-score-by-bessel-van-der-kolk-md/ ACE Study & Adverse Childhood Experiences Felitti, V. J. (2002). The relation between adverse childhood experiences and adult health: Turning gold into lead. The Permanente Journal, 6(1), 44–47. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6112216/ Felitti, V. J., & Anda, R. F. (2010). The relationship of adverse childhood experiences to adult health, well-being, social function, and healthcare. In R. Lanius, E. Vermetten, & C. Pain (Eds.), The impact of early life trauma on health and disease (pp. 77–87). Cambridge University Press. https://doi.org/10.1017/CBO9780511777042 Hillis, S., Mercy, J., Amobi, A., & Kress, H. (2023). Economic burden of health conditions associated with adverse childhood experiences among U.S. adults. JAMA Network Open, 6(12). https://jamanetwork.com/journals/jamanetworkopen Liu, Y., Croft, J. B., Chapman, D. P., et al. (2013). Associations between adverse childhood experiences and health outcomes in adults aged 18–59 years. PLOS ONE, 8(3), e58625. https://doi.org/10.1371/journal.pone.0058625 Epigenetics & Trauma Baratta, M. V., et al. (2021). Epigenetics of childhood trauma: Long term sequelae and potential for treatment. Neuroscience & Biobehavioral Reviews, 132, 1049–1063. https://doi.org/10.1016/j.neubiorev.2021.09.043 Jiang, S., Postovit, L., Cattaneo, A., Binder, E. B., & Aitchison, K. J. (2019). Epigenetic modifications in stress response genes associated with childhood trauma. Frontiers in Psychiatry, 10, Article 808. https://doi.org/10.3389/fpsyt.2019.00808 Provençal, N., & Binder, E. B. (2015). The effects of early life stress on the epigenome: From the womb to adulthood and even before. Experimental Neurology, 268, 10–20. https://doi.org/10.1016/j.expneurol.2014.12.001 Healing Modalities — Research Brom, D., Stokar, Y., Lawi, C., et al. (2017). Somatic experiencing for posttraumatic stress disorder: A randomized controlled outcome study. Journal of Traumatic Stress, 30(3), 304–312. https://doi.org/10.1002/jts.22189 Fratarolli, J. (2006). Experimental disclosure and its moderators: A meta-analysis. Psychological Bulletin, 132(6), 823–865. https://doi.org/10.1037/0033-2909.132.6.823 Gilbert, P. (2009). The compassionate mind: A new approach to life's challenges. New Harbinger Publications. https://www.newharbinger.com/9781572248403/the-compassionate-mind/ Justice Resource Institute. (2022). Evaluation of the efficacy of Internal Family Systems (IFS) therapy for trauma-related symptoms among complexly traumatized adults. ClinicalTrials.gov Identifier: NCT05155930. https://clinicaltrials.gov/ct2/show/NCT05155930 Kuhfuß, M., Maldei, T., Hetmanek, A., & Baumann, N. (2021). Somatic experiencing — effectiveness and key factors of a body-oriented trauma therapy. European Journal of Psychotraumatology, 12(1), Article 1929023. https://doi.org/10.1080/20008198.2021.1929023 Levine, P. A. (2010). In an unspoken voice: How the body releases trauma and restores goodness. North Atlantic Books. https://www.northatlanticbooks.com/shop/in-an-unspoken-voice/ Neff, K. D., & Germer, C. K. (2013). A pilot study and randomized controlled trial of the Mindful Self-Compassion Program. Journal of Clinical Psychology, 69(1), 28–44. https://doi.org/10.1002/jclp.21923 Pennebaker, J. W. (1997). Writing about emotional experiences as a therapeutic process. Psychological Science, 8(3), 162–166. https://doi.org/10.1111/j.1467-9280.1997.tb00403.x Rodenburg, R., Benjamin, A., de Roos, C., Meijer, A. M., & Stams, G. J. (2009). Efficacy of EMDR in children: A meta-analysis. Clinical Psychology Review, 29(7), 599–606. https://doi.org/10.1016/j.cpr.2009.06.008 Schwartz, R. C. (2021). No bad parts: Healing trauma and restoring wholeness with the Internal Family Systems model. Sounds True. https://www.soundstrue.com/products/no-bad-parts Shapiro, F. (2017). Eye movement desensitization and reprocessing (EMDR) therapy: Basic principles, protocols, and procedures (3rd ed.). Guilford Press. https://www.guilford.com/books/Eye-Movement-Desensitization-and-Reprocessing/Francine-Shapiro/9781462532766  

What if the smallest act of vulnerability… could completely change someone's life? In this deeply heartfelt solo episode, Darin explores a simple but radically transformative idea: go first. In a world where people are more digitally connected yet emotionally isolated than ever before, Darin breaks down the neuroscience, psychology, and human power behind making eye contact, giving genuine compliments, expressing appreciation, and risking authentic connection. From oxytocin and nervous system regulation to loneliness research and real-life stories of spontaneous connection with strangers, this episode is a reminder that healing doesn't always begin in a therapist's office—it can begin in a coffee shop, a grocery line, or a brief moment where one human being chooses to truly see another.     What You'll Learn Why modern society is experiencing a crisis of disconnection and loneliness The hidden psychological cost of avoiding vulnerability Why brief positive interactions with strangers improve mental health The neuroscience behind social rejection and fear of connection How oxytocin, dopamine, and serotonin are activated through authentic interaction Why vulnerability is a trainable "muscle" that rewires your nervous system The power of eye contact, compliments, and acknowledgment Why meaningful human interaction lowers stress and inflammation How small moments of courage create ripple effects for others Practical ways to "go first" and create more connection every day Chapters 00:00:32 – Sponsor: Fatty15 and the science of cellular health 00:01:03 – C15:0, mitochondrial function, and healthy aging 00:02:12 – Why many people may be deficient in C15 00:03:19 – "Celebrate science": discovering new essential fatty acids 00:04:13 – Opening reflection: noticing strangers in everyday life 00:04:52 – The moment we stop ourselves from speaking 00:05:10 – How many genuine moments do we suppress every day? 00:05:33 – Why these "tiny swallowed moments" matter deeply 00:06:02 – Humanity starving for real human connection 00:06:23 – "I see you. You are real to me." 00:06:51 – Vulnerability begins in ordinary daily moments 00:07:18 – The central thesis: "Go first" 00:07:37 – More surrounded and more isolated than ever before 00:07:57 – Research: meaningful interactions with strangers rarely happen 00:08:07 – Loneliness and lack of belonging in modern society 00:08:27 – Gen Z and Millennials: digitally connected yet emotionally isolated 00:08:47 – The silent routines of everyday life 00:09:16 – Why engaging with strangers feels risky or intrusive 00:09:47 – The cost of avoiding connection 00:10:12 – University of British Columbia study on strangers and belonging 00:10:48 – Positive interactions reducing loneliness and increasing happiness 00:11:03 – People predict interactions will be awkward—and are wrong 00:11:15 – Darin's recent experiments talking to strangers 00:11:38 – "Everyone wants connection" 00:12:00 – The emotional lives strangers are carrying invisibly 00:12:22 – One sentence can remind someone they matter 00:12:38 – Why vulnerability feels biologically terrifying 00:13:05 – Social rejection activating the same pathways as physical pain 00:13:20 – Ancient survival wiring and fear of exclusion 00:13:49 – "Your brain is firing a lion alert" 00:14:05 – What happens biologically when you push through fear 00:14:17 – Dopamine and meaningful social interaction 00:14:53 – Why real connection feels different from notifications 00:14:59 – Oxytocin as an anti-inflammatory bonding hormone 00:15:26 – Genuine interactions changing biology in seconds 00:15:43 – Polyvagal theory and nervous system safety states 00:16:17 – Vulnerability as a practice and a muscle 00:16:37 – Darin's valet story: "Bring the cash back!" 00:17:10 – How small interactions can shift someone's entire day 00:17:20 – Going deeper with loved ones and emotional openness 00:17:53 – Vulnerability rewiring the nervous system 00:18:07 – "If you want love, be love" 00:18:24 – Small acts of kindness shifting your heart and brain 00:18:53 – Sponsor: Shakeology and nutrient density 00:20:40 – Six practical ways to practice vulnerability 00:21:05 – Action #1: make eye contact and say hello 00:21:25 – Stop swallowing genuine compliments 00:21:46 – Asking deeper, more meaningful questions 00:22:05 – Giving honest answers instead of autopilot responses 00:22:28 – Seeing and acknowledging "invisible" people 00:22:50 – Gratitude toward workers, attendants, and strangers 00:23:04 – Reaching out to someone who changed your life 00:23:30 – "Going first" is about willingness, not fearlessness 00:23:59 – Stop hiding behind your phone and look around 00:24:16 – Human connection as medicine and nervous system healing 00:24:35 – Tell someone they made you smile today 00:24:50 – Calling loved ones and expressing appreciation 00:24:59 – "Don't let another moment go by without fully engaging in your life" 00:25:07 – Closing reflections: "This is SuperLife"     Thank You to Our Sponsors Fatty15: Get an additional 15% off their 90-day subscription Starter Kit by going to fatty15.com/DARIN and using code DARIN at checkout. Shakeology: Get 15% off with code DARINO1BODI at Shakeology.com.     Join the SuperLife Community Get Darin's deeper wellness breakdowns — beyond social media restrictions: Weekly voice notes Ingredient deep dives Wellness challenges Energy + consciousness tools Community accountability Extended episodes Join for $7.49/month → https://patreon.com/darinolien     Find More from Darin Olien: Instagram: @darinolien Podcast: SuperLife Podcast Website: superlife.com Book: Fatal Conveniences New Show: Roadmap to Happiness      Key Takeaway "Vulnerability isn't weakness, it's willingness. The willingness to go first. To smile first. To speak first. To love first. Because every time you choose connection over fear, you're not only changing someone else's day… you're rewiring your own biology, your nervous system, and your relationship to the world around you."     Bibliography/Sources: Public Health & Loneliness Data American Psychological Association. (2023). Stress in America 2023: A nation in crisis. https://www.apa.org/news/press/releases/stress British Red Cross. (2022). Tackling loneliness: From awareness to action. https://www.redcross.org.uk/about-us/what-we-do/action-on-loneliness Cigna. (2023). Cigna U.S. loneliness index. Evernorth Health Services. https://newsroom.cigna.com/loneliness-epidemic-continues-to-rise-cigna-study The Science of Micro-Connections & Strangers Barlow, J., & Møller, C. (1996). A complaint is a gift: Recovering customer loyalty when things go wrong. Berrett-Koehler Publishers. https://www.bkconnection.com/books/title/A-Complaint-Is-a-Gift Epley, N., & Schroeder, J. (2014). Mistakenly seeking solitude. Journal of Experimental Psychology: General, 143(5), 1980–1999. https://doi.org/10.1037/a0037323 Sandstrom, G. M., & Dunn, E. W. (2014a). Is efficiency overrated? Minimal social interactions lead to belonging and positive affect. Social Psychological and Personality Science, 5(4), 437–442. https://doi.org/10.1177/1948550613502990 Sandstrom, G. M., & Dunn, E. W. (2014b). Social interactions and well-being: The surprising power of weak ties. Personality and Social Psychology Bulletin, 40(7), 910–922. https://doi.org/10.1177/0146167214529799 Neuroscience of Social Rejection & Vulnerability Eisenberger, N. I. (2012). The neural bases of social pain: Evidence for shared representations with physical pain. Psychosomatic Medicine, 74(2), 126–135. https://doi.org/10.1097/PSY.0b013e3182464dd1 Eisenberger, N. I., & Lieberman, M. D. (2004). Why rejection hurts: A common neural alarm system for physical and social pain. Trends in Cognitive Sciences, 8(7), 294–300. https://doi.org/10.1016/j.tics.2004.05.010 Gross, J. J., & Levenson, R. W. (1997). Hiding feelings: The acute effects of inhibiting negative and positive emotion. Journal of Abnormal Psychology, 106(1), 95–103. https://doi.org/10.1037/0021-843X.106.1.95 Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company. https://wwnorton.com/books/9780393707007 Gratitude, Disclosure & Emotional Expression Algoe, S. B. (2012). Find, remind, and bind: The functions of gratitude in everyday relationships. Social and Personality Psychology Compass, 6(6), 455–469. https://doi.org/10.1111/j.1751-9004.2012.00439.x Algoe, S. B., Haidt, J., & Gable, S. L. (2008). Beyond reciprocity: Gratitude and relationships in everyday life. Emotion, 8(3), 425–429. https://doi.org/10.1037/1528-3542.8.3.425 Frattaroli, J. (2006). Experimental disclosure and its moderators: A meta-analysis. Psychological Bulletin, 132(6), 823–865. https://doi.org/10.1037/0033-2909.132.6.823 Pennebaker, J. W. (1997). Writing about emotional experiences as a therapeutic process. Psychological Science, 8(3), 162–166. https://doi.org/10.1111/j.1467-9280.1997.tb00403.x Seligman, M. E. P., Steen, T. A., Park, N., & Peterson, C. (2005). Positive psychology progress: Empirical validation of interventions. American Psychologist, 60(5), 410–421. https://doi.org/10.1037/0003-066X.60.5.410 Relationship Building, Oxytocin & Health Aron, A., Melinat, E., Aron, E. N., Vallone, R. D., & Bator, R. J. (1997). The experimental generation of interpersonal closeness. Personality and Social Psychology Bulletin, 23(4), 363–377. https://doi.org/10.1177/0146167297234003 Brown, B. (2012). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent, and lead. Gotham Books / Penguin. https://brenebrown.com/book/daring-greatly/ Canevello, A., & Crocker, J. (2010). Creating good relationships: Responsiveness, relationship quality, and interpersonal goals. Journal of Personality and Social Psychology, 99(1), 78–106. https://doi.org/10.1037/a0018186 Cohen, S., Doyle, W. J., Turner, R. B., Alper, C. M., & Skoner, D. P. (2003). Sociability and susceptibility to the common cold. Psychological Science, 14(5), 389–395. https://doi.org/10.1111/1467-9280.01452 Szeto, A., Sun-Suslow, N., Mendez, A. J., Hernandez, R. I., Wagner, K. V., & McCabe, P. M. (2017). Regulation of the macrophage oxytocin receptor in response to inflammation. American Journal of Physiology—Endocrinology and Metabolism, 312(2), E183–E189. https://doi.org/10.1152/ajpendo.00424.2016 Uvnas-Moberg, K. (2003). The oxytocin factor: Tapping the hormone of calm, love, and healing. Da Capo Press. https://books.google.com/books?id=b-aKjQoB_nQC

Watch on Youtube: https://youtu.be/JMWamVoY-FY  Charlie Malouf welcomes Bo Pennebaker, EVP, Licensee Operations of Ashley Global Retail, for a conversation rooted in shared history, industry experience, and a passion for retail. In this episode of Stories from the River, Charlie and Bo reflect on their Mississippi roots, long-standing friendship, and the career paths that shaped Bo's journey—from manufacturer's rep to retail owner, and now to executive leadership within Ashley's global network. They discuss the evolution of his role following the sale of his business, including his work with DSG and his current focus on real estate, operations, and supporting Ashley's licensees. The conversation also explores the launch of the Ashley Luxe Collection, the brand's largest introduction to date, aimed at engaging a younger, design-focused customer. They highlight the importance of storytelling, adaptability in a shifting retail landscape, and the role of culture in driving performance. Books mentioned: How to Get a Return on Failure by John C. Maxwell - https://www.amazon.com/How-Get-Return-Failure-Smarter-Return/dp/B0GR1JCLVD/  Procrastination Proof by Jon Acuff - https://www.amazon.com/Procrastination-Proof-Never-Stuck-Again/dp/154090380X  Unreasonable Hospitality: The Remarkable Power of Giving People More Than They Expect by Will Guidara - https://www.amazon.com/Unreasonable-Hospitality-Remarkable-Giving-People/dp/0593418573  Podcasts mentioned: The Learning Leader Show with Ryan Hawk - The Only Thing That Separates Great from Everyone Else | Will Guidara - https://www.youtube.com/watch?v=uqIJZlJC6tU  Visit https://www.storiesfromtheriver.com for more episodes.    Broad River Retail brought this show to you. Visit https://BroadRiverRetail.com    Follow us on LinkedIn: https://www.linkedin.com/company/broad-river-retail 

Watch on Youtube: https://youtu.be/JMWamVoY-FY  Charlie Malouf welcomes Bo Pennebaker, EVP, Licensee Operations of Ashley Global Retail, for a conversation rooted in shared history, industry experience, and a passion for retail. In this episode of Stories from the River, Charlie and Bo reflect on their Mississippi roots, long-standing friendship, and the career paths that shaped Bo's journey—from manufacturer's rep to retail owner, and now to executive leadership within Ashley's global network. They discuss the evolution of his role following the sale of his business, including his work with DSG and his current focus on real estate, operations, and supporting Ashley's licensees. The conversation also explores the launch of the Ashley Luxe Collection, the brand's largest introduction to date, aimed at engaging a younger, design-focused customer. They highlight the importance of storytelling, adaptability in a shifting retail landscape, and the role of culture in driving performance. Books mentioned: How to Get a Return on Failure by John C. Maxwell - https://www.amazon.com/How-Get-Return-Failure-Smarter-Return/dp/B0GR1JCLVD/  Procrastination Proof by Jon Acuff - https://www.amazon.com/Procrastination-Proof-Never-Stuck-Again/dp/154090380X  Unreasonable Hospitality: The Remarkable Power of Giving People More Than They Expect by Will Guidara - https://www.amazon.com/Unreasonable-Hospitality-Remarkable-Giving-People/dp/0593418573  Podcasts mentioned: The Learning Leader Show with Ryan Hawk - The Only Thing That Separates Great from Everyone Else | Will Guidara - https://www.youtube.com/watch?v=uqIJZlJC6tU  Visit https://www.storiesfromtheriver.com for more episodes.    Broad River Retail brought this show to you. Visit https://BroadRiverRetail.com    Follow us on LinkedIn: https://www.linkedin.com/company/broad-river-retail 

Blackstar Rising and the Purple Reign: The Sonic Afterlives of David Bowie and Prince (Duke UP, 2026) is the first critical anthology dedicated to exploring the legacies of the pop music icons David Bowie and Prince. Daphne A. Brooks brings together an extraordinary array of writers, artists, and scholars, including Greg Tate, Jack Halberstam, Kara Keeling, Eric Lott, and Ann Powers, to offer fresh insight into how Bowie and Prince each fundamentally changed pop culture as musicians who emerged at the intersections of modern movements surrounding race, gender, sexuality, and art. Featured alongside these pieces are interviews with trusted collaborators of Bowie and Prince such as D. A. Pennebaker, Sheila E., and Marie France, giving vital insider context to the impact both artists had on pop culture and the complexities of their repertoires, politics, and private lives. This work is essential reading for any fan of two of the most formidable and eminent figures in pop culture history.Contributors: Christine Bacareza Balance, Emma Balázs, Victoria Broackes, Daphne A. Brooks, Daphne Carr, Andreana Clay, Ashon Crawley, Jonathan Flatley, Nicole R. Fleetwood, Lynell George, Farah Jasmine Griffin, Michelle Habell-Pallán, Jack Halberstam, Matthew Frye Jacobson, Kara Keeling, Jason King, Josh Kun, Kathryn Lofton, Emily J. Lordi, Eric Lott, Maureen Mahon, Greil Marcus, Geoffrey Marsh, Michaelangelo Matos, Tiffany Naiman, Tavia Nyong'o, Ann Powers, Sonnet Retman, Morgan Rhodes, Francesca T. Royster, Gustavus Stadler, Jacqueline Stewart, Greg Tate, Karen Tongson, Van My Truong, Alexandra T. Vazquez, Michael E. Veal, Shane Vogel, Gayle Wald, Oliver Wang, Alexander G. Weheliye, Richard Yarborough, Kristen Zschomler Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Blackstar Rising and the Purple Reign: The Sonic Afterlives of David Bowie and Prince (Duke UP, 2026) is the first critical anthology dedicated to exploring the legacies of the pop music icons David Bowie and Prince. Daphne A. Brooks brings together an extraordinary array of writers, artists, and scholars, including Greg Tate, Jack Halberstam, Kara Keeling, Eric Lott, and Ann Powers, to offer fresh insight into how Bowie and Prince each fundamentally changed pop culture as musicians who emerged at the intersections of modern movements surrounding race, gender, sexuality, and art. Featured alongside these pieces are interviews with trusted collaborators of Bowie and Prince such as D. A. Pennebaker, Sheila E., and Marie France, giving vital insider context to the impact both artists had on pop culture and the complexities of their repertoires, politics, and private lives. This work is essential reading for any fan of two of the most formidable and eminent figures in pop culture history.Contributors: Christine Bacareza Balance, Emma Balázs, Victoria Broackes, Daphne A. Brooks, Daphne Carr, Andreana Clay, Ashon Crawley, Jonathan Flatley, Nicole R. Fleetwood, Lynell George, Farah Jasmine Griffin, Michelle Habell-Pallán, Jack Halberstam, Matthew Frye Jacobson, Kara Keeling, Jason King, Josh Kun, Kathryn Lofton, Emily J. Lordi, Eric Lott, Maureen Mahon, Greil Marcus, Geoffrey Marsh, Michaelangelo Matos, Tiffany Naiman, Tavia Nyong'o, Ann Powers, Sonnet Retman, Morgan Rhodes, Francesca T. Royster, Gustavus Stadler, Jacqueline Stewart, Greg Tate, Karen Tongson, Van My Truong, Alexandra T. Vazquez, Michael E. Veal, Shane Vogel, Gayle Wald, Oliver Wang, Alexander G. Weheliye, Richard Yarborough, Kristen Zschomler Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Blackstar Rising and the Purple Reign: The Sonic Afterlives of David Bowie and Prince (Duke UP, 2026) is the first critical anthology dedicated to exploring the legacies of the pop music icons David Bowie and Prince. Daphne A. Brooks brings together an extraordinary array of writers, artists, and scholars, including Greg Tate, Jack Halberstam, Kara Keeling, Eric Lott, and Ann Powers, to offer fresh insight into how Bowie and Prince each fundamentally changed pop culture as musicians who emerged at the intersections of modern movements surrounding race, gender, sexuality, and art. Featured alongside these pieces are interviews with trusted collaborators of Bowie and Prince such as D. A. Pennebaker, Sheila E., and Marie France, giving vital insider context to the impact both artists had on pop culture and the complexities of their repertoires, politics, and private lives. This work is essential reading for any fan of two of the most formidable and eminent figures in pop culture history.Contributors: Christine Bacareza Balance, Emma Balázs, Victoria Broackes, Daphne A. Brooks, Daphne Carr, Andreana Clay, Ashon Crawley, Jonathan Flatley, Nicole R. Fleetwood, Lynell George, Farah Jasmine Griffin, Michelle Habell-Pallán, Jack Halberstam, Matthew Frye Jacobson, Kara Keeling, Jason King, Josh Kun, Kathryn Lofton, Emily J. Lordi, Eric Lott, Maureen Mahon, Greil Marcus, Geoffrey Marsh, Michaelangelo Matos, Tiffany Naiman, Tavia Nyong'o, Ann Powers, Sonnet Retman, Morgan Rhodes, Francesca T. Royster, Gustavus Stadler, Jacqueline Stewart, Greg Tate, Karen Tongson, Van My Truong, Alexandra T. Vazquez, Michael E. Veal, Shane Vogel, Gayle Wald, Oliver Wang, Alexander G. Weheliye, Richard Yarborough, Kristen Zschomler Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Blackstar Rising and the Purple Reign: The Sonic Afterlives of David Bowie and Prince (Duke UP, 2026) is the first critical anthology dedicated to exploring the legacies of the pop music icons David Bowie and Prince. Daphne A. Brooks brings together an extraordinary array of writers, artists, and scholars, including Greg Tate, Jack Halberstam, Kara Keeling, Eric Lott, and Ann Powers, to offer fresh insight into how Bowie and Prince each fundamentally changed pop culture as musicians who emerged at the intersections of modern movements surrounding race, gender, sexuality, and art. Featured alongside these pieces are interviews with trusted collaborators of Bowie and Prince such as D. A. Pennebaker, Sheila E., and Marie France, giving vital insider context to the impact both artists had on pop culture and the complexities of their repertoires, politics, and private lives. This work is essential reading for any fan of two of the most formidable and eminent figures in pop culture history.Contributors: Christine Bacareza Balance, Emma Balázs, Victoria Broackes, Daphne A. Brooks, Daphne Carr, Andreana Clay, Ashon Crawley, Jonathan Flatley, Nicole R. Fleetwood, Lynell George, Farah Jasmine Griffin, Michelle Habell-Pallán, Jack Halberstam, Matthew Frye Jacobson, Kara Keeling, Jason King, Josh Kun, Kathryn Lofton, Emily J. Lordi, Eric Lott, Maureen Mahon, Greil Marcus, Geoffrey Marsh, Michaelangelo Matos, Tiffany Naiman, Tavia Nyong'o, Ann Powers, Sonnet Retman, Morgan Rhodes, Francesca T. Royster, Gustavus Stadler, Jacqueline Stewart, Greg Tate, Karen Tongson, Van My Truong, Alexandra T. Vazquez, Michael E. Veal, Shane Vogel, Gayle Wald, Oliver Wang, Alexander G. Weheliye, Richard Yarborough, Kristen Zschomler Learn more about your ad choices. Visit megaphone.fm/adchoices

Blackstar Rising and the Purple Reign: The Sonic Afterlives of David Bowie and Prince (Duke UP, 2026) is the first critical anthology dedicated to exploring the legacies of the pop music icons David Bowie and Prince. Daphne A. Brooks brings together an extraordinary array of writers, artists, and scholars, including Greg Tate, Jack Halberstam, Kara Keeling, Eric Lott, and Ann Powers, to offer fresh insight into how Bowie and Prince each fundamentally changed pop culture as musicians who emerged at the intersections of modern movements surrounding race, gender, sexuality, and art. Featured alongside these pieces are interviews with trusted collaborators of Bowie and Prince such as D. A. Pennebaker, Sheila E., and Marie France, giving vital insider context to the impact both artists had on pop culture and the complexities of their repertoires, politics, and private lives. This work is essential reading for any fan of two of the most formidable and eminent figures in pop culture history.Contributors: Christine Bacareza Balance, Emma Balázs, Victoria Broackes, Daphne A. Brooks, Daphne Carr, Andreana Clay, Ashon Crawley, Jonathan Flatley, Nicole R. Fleetwood, Lynell George, Farah Jasmine Griffin, Michelle Habell-Pallán, Jack Halberstam, Matthew Frye Jacobson, Kara Keeling, Jason King, Josh Kun, Kathryn Lofton, Emily J. Lordi, Eric Lott, Maureen Mahon, Greil Marcus, Geoffrey Marsh, Michaelangelo Matos, Tiffany Naiman, Tavia Nyong'o, Ann Powers, Sonnet Retman, Morgan Rhodes, Francesca T. Royster, Gustavus Stadler, Jacqueline Stewart, Greg Tate, Karen Tongson, Van My Truong, Alexandra T. Vazquez, Michael E. Veal, Shane Vogel, Gayle Wald, Oliver Wang, Alexander G. Weheliye, Richard Yarborough, Kristen Zschomler Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Blackstar Rising and the Purple Reign: The Sonic Afterlives of David Bowie and Prince (Duke UP, 2026) is the first critical anthology dedicated to exploring the legacies of the pop music icons David Bowie and Prince. Daphne A. Brooks brings together an extraordinary array of writers, artists, and scholars, including Greg Tate, Jack Halberstam, Kara Keeling, Eric Lott, and Ann Powers, to offer fresh insight into how Bowie and Prince each fundamentally changed pop culture as musicians who emerged at the intersections of modern movements surrounding race, gender, sexuality, and art. Featured alongside these pieces are interviews with trusted collaborators of Bowie and Prince such as D. A. Pennebaker, Sheila E., and Marie France, giving vital insider context to the impact both artists had on pop culture and the complexities of their repertoires, politics, and private lives. This work is essential reading for any fan of two of the most formidable and eminent figures in pop culture history.Contributors: Christine Bacareza Balance, Emma Balázs, Victoria Broackes, Daphne A. Brooks, Daphne Carr, Andreana Clay, Ashon Crawley, Jonathan Flatley, Nicole R. Fleetwood, Lynell George, Farah Jasmine Griffin, Michelle Habell-Pallán, Jack Halberstam, Matthew Frye Jacobson, Kara Keeling, Jason King, Josh Kun, Kathryn Lofton, Emily J. Lordi, Eric Lott, Maureen Mahon, Greil Marcus, Geoffrey Marsh, Michaelangelo Matos, Tiffany Naiman, Tavia Nyong'o, Ann Powers, Sonnet Retman, Morgan Rhodes, Francesca T. Royster, Gustavus Stadler, Jacqueline Stewart, Greg Tate, Karen Tongson, Van My Truong, Alexandra T. Vazquez, Michael E. Veal, Shane Vogel, Gayle Wald, Oliver Wang, Alexander G. Weheliye, Richard Yarborough, Kristen Zschomler Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Welcome to our bi-monthly ENCORE PRESENTATION of classic REVOLUTIONS PER MOVIE episodes from the vault! This was from our...cough...50th episode...which was a big deal for me (and still is now as I near 150 episodes on the main feed and another exclusive RPM 114 episodes over on my Patreon). To have the one and only PEACHES CHRIST come crashing through with a film that only they could have brought to the table with such emotion, love, knowledge, and humor...I'm eternally grateful! Peaches forever!!!(Episode 50 originally aired on August 22nd, 2024). ORIGINAL SHOW NOTES:For our 50th episode, we talk to the legend PEACHES CHRIST about one of her favorite music documentaries, D.A. Pennebaker & Chris Hegedus' DEPECHE MODE 101. We discuss why this film became Pennebaker's favorite film (over his films about Dylan & Bowie) and why the film director wasn't a fan when he first started the project, Peaches discovery and obsession with the VHS tape of this doc, how even though Depeche Mode were straight they loved their queer fans, how the band grew into a global sensation, the choices of editing in the film, how the filim was the precusor to MTV's The Real World & Road Rules, the time Peaches set the stage of her celebration of the film CARRIE on fire, John Waters & Mink Stole, youthful indescretions, the legendary film series MIDNIGHT MASS which includes drag queen rollerderbies and free lap dances with each tub of popcorn purchased, early Halloween productions in the woods, dealing with Russ Meyer, The Cockettes, the boredom and nerves of waiting to go onstage, how different the era was for the the kids in the film and how different it would be made today, the pressure of Depeche Mode playing the rose bowl, nerds as rock icon, Wax Trax Records, trying to upset your parents through your music tastes, when people who are mean to you start loving your favorite bands, Dave Gahan's stage presence, Freddie Mercury, Peaches' regrets with Depeche Mode and the band's crossover into the masses, waiting in line to get concert tickets in a mall, Robert Smith Vs. Ticketmaster, what the fans felt as Alan left Depeche Mode, the grind of band interviews, and Chris discusses the early days of his video store and the search for cult film obscurities.So let's watch the curtain drop to reveal the band on this week's Revolutions Per Movie!!! https://peacheschrist.comREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods that I send out to you. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

5 Schritte, wie man gelassener und ruhiger zu reagierenWenn du mich und den Podcast unterstützen möchtest, dann bewerte den Podcast gerne und schicke ihn an jemanden weiter, der sich auch dafür interessieren würde. Mein neues Buch hilft dir besser zu kommunizieren, deine Muster zu verändern und wieder Nähe herzustellen. Du hast Feedback oder Fragen? Dann schreib mir auf Instagram.Du möchtest eine persönliche (Online)Beratung oder Paartherapie mit mir? Dann schreib mir eine Mail an: kontakt@paartherapiebonn.com.Mehr zu mir und meiner Arbeit findest du ⁠⁠hier⁠⁠.Studien zum Thema: Almeida, D. M. (2005). Resilience and vulnerability to daily stressors assessed via diary methods. Current Directions in Psychological Science, 14(2), 64–68.Baikie, K. A., & Wilhelm, K. (2005). Emotional and physical health benefits of expressive writing. Advances in Psychiatric Treatment, 11(5), 338–346.Chambel, M. J., Lopes, S., & Carvalho, V. S. (2023). Work–family boundary management profiles and well-being at humanitarian aid missions. Stress and Health, 39(5), 1066–1080.Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York, NY: Harper & Row.Frattaroli, J. (2006). Experimental disclosure and its moderators: A meta-analysis. Psychological Bulletin, 132(6), 823–865.Greenglass, E., Schwarzer, R., & Taubert, S. (1999). The Proactive Coping Inventory (PCI): A multidimensional research instrument. Paper presented at the 20th International Conference of the Stress and Anxiety Research Society, Cracow, Poland.Meng, Y., Li, Y., & Zhang, Y. (2025). Work–family boundary fit and employee well-being: The mediating role of work–family conflict. Behavioral Sciences, 15(8), 1122.Pennebaker, J. W., & Beall, S. K. (1986). Confronting a traumatic event: Toward an understanding of inhibition and disease. Journal of Abnormal Psychology, 95(3), 274–281.Ryan, R. M., & Deci, E. L. (2000). Self determination theory and the facilitation of intrinsic motivation, social development, and well-being. American Psychologist, 55(1), 68–78.Schuch, F. B., Vancampfort, D., Firth, J., Rosenbaum, S., Ward, P. B., Silva, E. S., Hallgren, M., de Leon, A. P., Dunn, A. L., Deslandes, A. C., Fleck, M. P., Carvalho, A. F., & Stubbs, B. (2018). Physical activity and incident depression: A meta-analysis of prospective cohort studies. American Journal of Psychiatry, 175(7), 631–648.Schuch, F. B., Vancampfort, D., Richards, J., Rosenbaum, S., Ward, P. B., & Stubbs, B. (2016). Exercise as a treatment for depression: A meta-analysis adjusting for publication bias. Journal of Psychiatric Research, 77, 42–51.Zacher, H., Braukmann, J., & Frese, M. (2014). Micro-breaks matter: A diary study on the effects of energy management strategies on occupational well-being. Journal of Vocational Behavior, 85(3), 287–297.

Did you know you are missing 47% of your life? Research shows that nearly half our waking hours are spent "mind-wandering"—a state directly linked to unhappiness. In this episode, we dive into the "Second Face of Mara" to understand the difference between creative daydreaming and toxic rumination. We explore the neuroscience of the Default Mode Network, the power of the Pennebaker writing protocol, and insights from Erick Godsey's Make Your Myth course. Plus, a revealing story about the Dalai Lama that proves negative self-talk isn't biological—it's a bad habit we can break.

Just as Zohran Mamdani's New York mayoral campaign has written a new playbook for Democratic Party politics... we look back at the old playbook. We investigate THE RETURN OF THE WAR ROOM (2008), D.A. Pennebaker and Chris Hegedus's sequel to their 1993 documentary classic. Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus Jack Califano's shots of CPAC - https://x.com/LukewSavage/status/1986174741481234616

With so many dozens of albums over so many wildly disparate eras, it can take a lifetime to truly get your arms around Bob Dylan. On this episode, Kirk is joined by two guests who have spent their lifetimes doing exactly that. Matt Sitman and Sam Adler-Bell, in addition to co-hosting the terrific political history podcast Know Your Enemy, are both lifelong Dylan fans. This spring, they came on the show to give listeners a tour of Dylan's many eras, and to give newcomers a place, or places, they might start getting to know him better.DYLAN SONGS DISCUSSED, IN RELEASE CHRONOLOGY“Blowin in the Wind”  and “Corrina, Corrina” from Freewheelin' Bob Dylan, 1963 (and as sung by Peter, Paul and Mary)“Like A Rolling Stone,” “Just Like Tom Thumb's Blues,” “From a Buick 6” from Highway 61 Revisisted, 1965“Subterranean Homesick Blues,” “Mr. Tambourine Man,” and “Outlaw Blues” from Bringing it All Back Home, 1965“Rainy Day Women #12 & 35” and “Pledging My Time” from Blonde on Blonde, 1966“All Along the Watchtower” and “I'll Be Your Baby Tonight” from John Wesley Harding, 1967“Lay, Lady, Lay” and “Girl from the North Country” (with Johnny Cash) from Nashville Skyline, 1969“Knockin' on Heaven's Door” from Pat Garret & Billy The Kid Original Soundtrack, 1973“Forever Young” from Planet Waves, 1974“Tangled Up in Blue” from Blood On The Tracks, 1975“Hurricane” and “Romance in Durango” from Desire, 1976“Changing of the Guards” from Street-Legal, 1978“Serve Somebody,” and “Do Right to Me Baby (Do Unto Others)” from Slow Train Coming, 1979“Saved” from Saved, 1980“The Groom's Still Waiting At the Alter” and “Lenny Bruce” from Shot of Love, 1981“Pressing On” and "Solid Rock" live in Toronto, 1980“Neighborhood Bully,” “Jokerman,” “Sweetheart Like You” from Infidels, 1983“Dark Eyes” from _Empire Burlesqu_e, 1985“Brownsville Girl” from Knocked Out and Loaded, 1986“Sylvio” from Down In The Groove, 1988“Everything Is Broken” and “Most of the Time” from Oh Mercy, 1989“Hard Times” from Good As I Been to You, 1992“Train of Love,” Johnny Cash tribute, 1999“Pay In Blood” from Tempest, 2012“I'm A Fool To Want You“ by Frank Sinatra, Jack Wolf, and Joel Herron from Shadows in the Night, 2015, and as recorded by Frank Sinatra“Polka Dots and Moonbeams” by Jimmy Van Heusen and Johnny Burke, from Fallen Angels, 2016“How Deep is the Ocean” by Irving Berlin from Triplicate, 2017“I've Made Up My Mind to Give Myself to You” from Rough and Rowdy Ways, 2020ALSO DISCUSSED/REFERENCED:The Know Your Enemy episode about Dylan's The Philosophy of Modern Song"Moonlight Mind" by Will Epstein and High Water from Crush, 2016"Lonely Woman" by Ornette Coleman from The Shape of Jazz to Come, 1959"Rainy Day Women #12 & 35" as recorded by Tom Petty and the HeartbreakersSam's review of A Complete Unknown in The NationBob Dylan: Expecting Rain websiteEpisode one, "Weather”, from Dylan's radio show Theme Time Radio Hour, featuring Muddy Waters on "Blow Wind, Blow”Audio from D.A. Pennebaker's 1967 documentary Bob Dylan: Don't Look BackAudio from Scorses's 2005 documentary No Direction Home: Bob DylanGUEST MUSIC PICKS:Sam: Lucinda Wiliams, Car Wheels on a Gravel Road, 1998Matt: Willie Nelson, Across the Borderline, 1993----LINKS-----

The Human Intimacy Podcast #80: The Hidden Cost of Secrets in Relationships In this episode of the Human Intimacy Podcast, Dr. Kevin Skinner and MaryAnn Michaelis, LCSW, unpack the complex world of secrecy in relationships—why we keep secrets, what it does to us internally, and how it affects intimacy with our partners. They explore the hidden weight of secrecy and self-deception, showing how carrying secrets impacts not only relationships but also personal health, emotional well-being, and even the body. The conversation highlights: The psychology of secrecy — why people hide, lie, or deceive in the name of "protection." The toll on the body and mind — from anxiety and ulcers to exhaustion and emotional distance. The role of shame and fear — how vulnerability and the fear of rejection fuel secrecy. The ripple effects on intimacy — why hiding erodes trust and connection over time. Steps toward healing — the importance of accountability, support networks, and learning to share in safe, structured ways. Dr. Skinner and MaryAnn also discuss research insights (Pennebaker, Levine, Carnes, Lemke, Brown) and real-world examples, weaving in practical tools for couples and individuals navigating the painful terrain of secrecy and betrayal. Listeners will leave with a deeper understanding of why secrecy is so destructive—and hopeful strategies for stepping into authenticity, vulnerability, and healthier intimacy.

If you've ever felt stuck, reactive, or overwhelmed by your emotions—this episode is for you. I'm sharing 10 science-backed shadow work methods that actually rewire your brain, calm your nervous system, and help you heal the patterns keeping you in pain.We're talking:✅ Cognitive reappraisal (Pennebaker method)✅ Somatic tracking✅ Internal Family Systems (IFS)✅ Mirror work with compassionate self-talk✅ Parts work, EMDR, expressive writing & more

A lot of things started at 1967's Monterey Pop Festival; the era of the multi-day festival, people finding ways to "survive" three days together for music's sake, and, maybe most importantly, it launched The Summer Of Love! Growing beyond its initial scope, taking on its own life energy, to the chagrin of at least one of the originators! (Find out who!) Markus and Ray work their way through the festival lineup, adding what they learned about the event, along the way. Find out more: -⁠D.A. Pennebaker's interview about the documentary⁠, Monterey Pop -⁠Monterey Pop Festival⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

A lot of things started at 1967's Monterey Pop Festival; the era of the multi-day festival, people finding ways to "survive" three days together for music's sake, and, maybe most importantly, it launched The Summer Of Love! Growing beyond its initial scope, taking on its own life energy, to the chagrin of at least one of the originators! (Find out who!) Markus and Ray work their way through the festival lineup, adding what they learned about the event, along the way. Find out more: -D.A. Pennebaker's interview about the documentary, Monterey Pop -Monterey Pop Festival Learn more about your ad choices. Visit megaphone.fm/adchoices

Get the free workbook: www.powerofpeacefulness.comYou've hit the milestones—got the promotion, the degree, the title. But if you're still wondering, “Is this it?”—you're not alone. In this episode of The Power of Peacefulness, we dive deep into how reflection can transform your experience of success, moving you from burnout and striving to flow and fulfillment.Through inspiring stories, practical tools, and evidence-based insights, we explore how intentional reflection helps you realign with your core values, build self-awareness, and define success on your own terms—not anyone else's.Whether you're feeling disconnected in your career, stuck in perfectionism, or simply craving more meaning in your life, this conversation offers a new lens—and a pathway—to redefine what achievement truly looks like for you.What it means to change your vision of success through reflectionWhy self-awareness is the foundation for authentic successThe power of journaling, therapy, and mindfulness in discovering your true pathHow aligning your goals with your values increases fulfillmentUsing flow as a compass for career directionLetting go of perfectionism and redefining achievementThe neuroscience of rest and why you need it for integration and clarityBuilding resilience through narrative reflectionCreating reflective ecosystems—in your life, relationships, and workspaces"Reflection is the tool that helps you draw up your own blueprint for success.""Success isn't a destination—it's a way of being that feels deeply aligned with your inner compass.""When your goals reflect your core values, fulfillment stops being a future outcome—it becomes your lived experience."FREE Workbook: Reclaim Your Inner Peace → www.powerofpeacefulness.comResearch by Csikszentmihalyi, Goleman, Beck, Pennebaker, and more (covered in the full article behind this episode)If this episode resonated with you, be sure to subscribe so you never miss a new conversation—and please consider leaving a review! It helps us reach more listeners like you.Know someone who needs to hear this? Send this episode their way.Together, we're creating a more peaceful and purposeful way of living.Take five minutes today to reflect. Just a few quiet moments. Ask yourself: What does success mean to me now?Not what it used to mean, not what others expect—but what truly matters to you today.Until next time—Breathe deeply. Trust your journey. And keep walking your path to peace.

Unleash the transformative power of your words with pioneering researcher James W. Pennebaker. Discover how his simple, expressive writing method can improve your mental and physical health, provide self-insight, and even detect the hidden psychological undercurrents influencing your life and relationships. In Opening Up by Writing It Down: How Expressive Writing Improves Health and Eases Emotional Pain, Pennebaker reveals the profound healing potential within us all.You can find Jamie at: Website | Episode TranscriptIf you LOVED this episode you'll also love the conversations we had with Nicole Sachs about her approach to journaling for chronic pain.Check out our offerings & partners: Join My New Writing Project: Awake at the WheelVisit Our Sponsor Page For Great Resources & Discount Codes Hosted on Acast. See acast.com/privacy for more information.

In today's episode, Gina discusses how to provide yourself with a highly therapeutic, mentally healing process through writing in a journal. The work of psychologist James Pennebaker on the power of expressive writing is included. Using the journal as a venue for deep therapeutic work can be done independently and essentially without cost to the individual doing the writing. Unlock your own mental wellness using this readily available tool. Listen in today! Please visit our Sponsor Page to find all the links and codes for our awesome sponsors! https://www.theanxietycoachespodcast.com/sponsors/ Thank you for supporting The Anxiety Coaches Podcast. FREE MUST-HAVE RESOURCE FOR Calming Your Anxious Mind 10-Minute Body-Scan Meditation for Anxiety Anxiety Coaches Podcast Group Coaching link ACPGroupCoaching.com To learn more, go to: Website https://www.theanxietycoachespodcast.com Join our Group Coaching Full or Mini Membership Program Learn more about our One-on-One Coaching What is anxiety? Find even more peace and calm with our Supercast premium access membership: For $5 a month, all episodes are ad-free! https://anxietycoaches.supercast.com/ Here's what's included for $5/month: ❤ New Ad-Free episodes every Sunday and Wednesday ❤ Access to the entire Ad-free back-catalog with over 600 episodes ❤ Premium meditations recorded with you in mind ❤ And more fun surprises along the way! All this in your favorite podcast app! Quote: Writing helps people organize thoughts and give meaning to a traumatic experience. -James W. Pennebaker Chapters 0:26 Introduction to Expressive Writing 2:12 Who is James Pennebaker? 4:46 Handwriting vs. Typing 6:11 Emotional Expression and Healing 9:43 Writing for Clarity 11:38 Storytelling Through Writing 13:43 Invitation to Journal 15:31 Healing Through Writing 17:44 Reflective Prompts for Journaling 19:26 Closing Thoughts Summary In this episode of the Anxiety Coaches Podcast, I delve into the transformative practice of expressive writing, drawing on the groundbreaking research of psychologist James Pennebaker. I explore how expressing anxiety through journaling can significantly promote both emotional and physical healing. I emphasize that many people feel intimidated by journaling, often worrying about finding the "right" way to do it. Today, I introduce listeners to a powerful method backed by Pennebaker's extensive studies, which suggests that the efficacy of writing is rooted not in the medium, but in the authenticity of the expression itself. I start by discussing the often-debated question of whether it's better to write by hand or to type out journal entries. Drawing upon Pennebaker's findings, I've found that the key to reaping the benefits of expressive writing lies in the depth of engagement, regardless of the format. While some individuals may experience a stronger connection through handwriting due to its slower, more reflective nature, others may feel liberated when typing. Ultimately, what matters most is the act of putting words to paper, as it allows feelings and thoughts to find a voice. Throughout the episode, I highlight Pennebaker's assertion that emotional expression not only fosters healing but also improves physical health. I share insights into the profound impact of releasing pent-up emotions through writing, likening it to opening a valve that eases internal pressure. Writing helps people organize thoughts and give meaning to a traumatic experience. — James W. Pennebaker #Anxiety #ExpressiveWriting #Journaling #Pennebaker #MentalHealth #SelfCare #StressManagement #EmotionalHealing #WritingForAnxiety #QuietPower #InnerPeace #Wellness #Mindfulness #EmotionalWellbeing #SelfAwarenessJourney #WritingTherapy #EmotionalRelease #HealingThroughWriting #AnxietyRelief #StressReductionTechniques #JournalingPrompts #PennebakerMethod Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In today's episode, Gina discusses how to provide yourself with a highly therapeutic, mentally healing process through writing in a journal. The work of psychologist James Pennebaker on the power of expressive writing is included. Using the journal as a venue for deep therapeutic work can be done independently and essentially without cost to the individual doing the writing. Unlock your own mental wellness using this readily available tool. Listen in today! Please visit our Sponsor Page to find all the links and codes for our awesome sponsors! https://www.theanxietycoachespodcast.com/sponsors/ Thank you for supporting The Anxiety Coaches Podcast. FREE MUST-HAVE RESOURCE FOR Calming Your Anxious Mind 10-Minute Body-Scan Meditation for Anxiety Anxiety Coaches Podcast Group Coaching link ACPGroupCoaching.com To learn more, go to: Website https://www.theanxietycoachespodcast.com Join our Group Coaching Full or Mini Membership Program Learn more about our One-on-One Coaching What is anxiety? Find even more peace and calm with our Supercast premium access membership: For $5 a month, all episodes are ad-free! https://anxietycoaches.supercast.com/ Here's what's included for $5/month: ❤ New Ad-Free episodes every Sunday and Wednesday ❤ Access to the entire Ad-free back-catalog with over 600 episodes ❤ Premium meditations recorded with you in mind ❤ And more fun surprises along the way! All this in your favorite podcast app! Quote: Writing helps people organize thoughts and give meaning to a traumatic experience. -James W. Pennebaker Chapters 0:26 Introduction to Expressive Writing 2:12 Who is James Pennebaker? 4:46 Handwriting vs. Typing 6:11 Emotional Expression and Healing 9:43 Writing for Clarity 11:38 Storytelling Through Writing 13:43 Invitation to Journal 15:31 Healing Through Writing 17:44 Reflective Prompts for Journaling 19:26 Closing Thoughts Summary In this episode of the Anxiety Coaches Podcast, I delve into the transformative practice of expressive writing, drawing on the groundbreaking research of psychologist James Pennebaker. I explore how expressing anxiety through journaling can significantly promote both emotional and physical healing. I emphasize that many people feel intimidated by journaling, often worrying about finding the "right" way to do it. Today, I introduce listeners to a powerful method backed by Pennebaker's extensive studies, which suggests that the efficacy of writing is rooted not in the medium, but in the authenticity of the expression itself. I start by discussing the often-debated question of whether it's better to write by hand or to type out journal entries. Drawing upon Pennebaker's findings, I've found that the key to reaping the benefits of expressive writing lies in the depth of engagement, regardless of the format. While some individuals may experience a stronger connection through handwriting due to its slower, more reflective nature, others may feel liberated when typing. Ultimately, what matters most is the act of putting words to paper, as it allows feelings and thoughts to find a voice. Throughout the episode, I highlight Pennebaker's assertion that emotional expression not only fosters healing but also improves physical health. I share insights into the profound impact of releasing pent-up emotions through writing, likening it to opening a valve that eases internal pressure. Writing helps people organize thoughts and give meaning to a traumatic experience. — James W. Pennebaker #Anxiety #ExpressiveWriting #Journaling #Pennebaker #MentalHealth #SelfCare #StressManagement #EmotionalHealing #WritingForAnxiety #QuietPower #InnerPeace #Wellness #Mindfulness #EmotionalWellbeing #SelfAwarenessJourney #WritingTherapy #EmotionalRelease #HealingThroughWriting #AnxietyRelief #StressReductionTechniques #JournalingPrompts #PennebakerMethod Learn more about your ad choices. Visit megaphone.fm/adchoices

Introduction

THIS IS A PREVIEW. FOR THE FULL EPISODE, GO TO Patreon.com/worstofall When Bill Clinton won the US presidential election in 1992, two people were key to his success: James Carville and George Stephanopolous. This week, Brian and Josh step into The War Room, D.A. Pennebaker's 1993 documentary about how these two men and their team of future top Democratic all-stars cajoled and bullshitted America's electorate into sending Slick Willie to 1600 Pennsylvania Avenue. Media Referenced in This Episode: The War Room, dir. D.A. Pennebaker (Pennebaker Associates/October Films, 1993) Feed, dir. Kevin Rafferty and James Ridgeway (Video Democracy, 1992) Primary, dir. Robert Drew (Time Life, 1960) Bob Dylan: Dont Look Back, dir. D.A. Pennebaker (Leacock-Pennebaker, 1968) Original Cast Album: Company, dir. D.A. Pennebaker (Castle Drive/Talent Associates-Norton Simon, 1970) “Jeffrey Epstein Was a Sex Offender. The Powerful Welcomed Him Anyway.” Jodi Kantor, Mike McIntire, and Vanessa Friedman, The New York Times, July 13, 2019. “Foreign Purchases by Bush Camp Alleged.” Paul Valentine, The Washington Post, September 29, 1992. “Second” campaign ad by Bill Clinton (1992) “Celeb” campaign ad by John McCain (2008) Yes We Can Obama Song by will.i.am (2008) Sensual Pantsuit Anthem (Official Rapped Music Video) by Lena Dunham (2016) “Carville: Trump collapse happened quicker than I imagined” on Smerconish (CNN, 2025) TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com

The Healing Power of Expressive Writing: An Interview with Dr. Jamie Pennebaker In this enlightening episode, we delve into the transformative world of expressive writing with Dr. Jamie Pennebaker, a leading researcher in the field. Dr. Pennebaker recounts the fascinating journey from his initial studies on the impact of journaling on overcoming trauma to the development of the computer program, Linguistic Inquiry and Word Count (LIWC). Discover how expressive writing can remarkably improve physical and mental health, the significance of language in understanding emotional states, and practical advice for implementing these insights into daily life. Whether it's navigating personal hardships or fostering self-awareness, this conversation uncovers the profound benefits of putting thoughts into words. 00:00 Introduction and Welcome 00:31 Discovering the Power of Expressive Writing 03:09 The First Study and Its Impact 06:02 Methodology and Instructions for Expressive Writing 09:48 Health Benefits and Challenges of Expressive Writing 17:07 Exploring Language and Mental Health 39:30 Case Study: Kathleen Folbigg and Text Analysis 43:16 Reflections and Future Outlook   Mental Health Resources Australia:  * Lifeline Australia: 13 11 14 or lifeline.org.au  * Beyond Blue: 1300 22 4636 or beyondblue.org.au  * 1800RESPECT: 1800 737 732 or 1800respect.org.au  * Kids Helpline: 1800 55 1800 or kidshelpline.com.au  * SANE Australia: 1800 187 263 or sane.org   United States:  * National Sexual Assault Hotline: 1-800-656-HOPE or RAINN (Rape, Abuse & Incest National Network) at rainn.org  * National Suicide Prevention Lifeline: 988  * Crisis Text Line: Text HOME to 741741  * The National Alliance on Mental Illness (NAMI): 1-800-950-NAMI (6264) or nami.org  * Substance Abuse and Mental Health Services Administration (SAMHSA): 1-800-662-HELP (4357) or samhsa.gov   United Kingdom:  * National Domestic Abuse Helpline: 0808 2000 247 or nationaldahelpline.org.uk  * Rape Crisis England & Wales: 0808 802 9999 or rapecrisis.org.uk  * Samaritans: 116 123 or samaritans.org  * Mind: 0300 123 3393 or mind.org.uk  * Shout Crisis Text Line: Text SHOUT to 85258  * NHS mental health services: via your GP or the NHS website.  

Comedy person Adam Burke ("Wait Wait Don't Tell Me") joins Andy & Steph to talk about one of the more unconventional choices for the podcast: D.A. Pennebaker's 1970 documentary, "Original Cast Album: Company." As a bonus, the gang ends up talking a LOT about the the "Documentary Now" episode "Original Cast Album: Co-Op." Adam talks about how "Co-Op" led him to "Company." Andy is mostly mad that we're covering this movie. And Steph talks about how "Company" made her ready to risk it all.Check out our No Skips playlist on Spotify: https://open.spotify.com/playlist/6NWZ1ETlRqC9s7gcVIoTFW?si=81f3c5a2862645b5check out our patreon! patreon.com/dumbfun Hosted on Acast. See acast.com/privacy for more information.

Writer, producer, and comedian Hayes Davenport (Big City Heat, Hollywood Handbook) joins Matt and Tim to discuss the 1993 documentary The War Room by D.A. Pennebaker and Chris Hegedus. George H.W. Bush is the President till Bill Clinton wins (spoiler alert). Here are some great CA wildfire resources and places to donate: California Community Foundation Renters That Lost Housing in LA County Fires

Writer, producer, and comedian Hayes Davenport (Big City Heat, Hollywood Handbook) joins Matt and Tim to discuss the 1993 documentary The War Room by D.A. Pennebaker and Chris Hegedus. George H.W. Bush is the President till Bill Clinton wins (spoiler alert). Here are some great CA wildfire resources and places to donate: California Community Foundation Renters That Lost Housing in LA County Fires

Last year, Timothee Chalamet played the role of Bob Dylan in a major motion picture. It was all a little pointless, though, seeing as Robert Zimmerman has been playing the role of Bob Dylan in the movies for 60 years now. This week, we watched America's Onery Boy in 'Don't Look Back," D.A. Pennebaker's Cinéma vérité classic about Dylan's 1965 tour of England, where our hero spins Donnovan around, gets in fights with journalists, and meets the high sherrif's wife, and talked about it with Corbin's fellow Dylan sicko Ryder Canepa.  Corbin reccomends Skyrim, which you probably already own. Matt reccomends an appliance. Ryder reccomends 'The Creature' and 'Zeiram,' two weird little movies. Corbin also reccomends this essay by Patricia Lockwood.  For reasons too tedious to get into here, next week's episode is NOT about Unrest. It will, instead, be about The Brutalist, which is currently in theaters. Ryder will be joining us again for the episode, which is pretty funny. 

Evidence from the guy who pioneered the science.James Pennebaker is Professor Emeritus of Psychology at the University of Texas at Austin. He is known for his early research on expressive writing and health. More recently, he has pioneered ways to study people's personalities and behaviors through the analysis of their language use. His text analysis program LIWC is used across disciplines. Author of over 300 scientific articles and 8 books, his research has affected our understanding and treatment of mental and physical health of people dealing with upheavals in their lives.In this episode we talk about:The specific form of journaling, called expressive writing or therapeutic journaling, that he invented and studied. Other kinds of journaling such as to-do lists and gratitude lists. Why writing things down helps shift our perspective on our stress or trauma. How that can lead to a cascade of benefits, from improved sleep to improved working memoryAnd why Pennebaker, who's a very laid-back dude, is so laid-back about how often we need to journal in order to derive its benefitsDump It Here journal is available now. https://shop.danharris.com/ Sign up for Dan's weekly newsletter hereFollow Dan on social: Instagram, TikTokTen Percent Happier online bookstoreSubscribe to our YouTube ChannelOur favorite playlists on: Anxiety, Sleep, Relationships, Most Popular EpisodesFull Shownotes: https://www.tenpercent.com/tph/podcast-episode/pennebaker-860See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Adam talks with Patric Gagne about her memoir Sociopath and shares some uplifting movie picks from friends of the podcastConversation recorded face-to-face in London on 15th April, 2024CONTAINS STRONG LANGUAGEThanks to Séamus Murphy-Mitchell for production support and conversation editing Podcast illustration by Helen Green https://helengreenillustration.com/RELATED LINKSHE MARRIED A SOCIOPATH - ME by Patric Gagne - 2020 (NY TIMES - PAYWALL)INTERVIEW WITH PATRIC GAGNE - 2024 (PSYCHOLOGY TODAY)INTERVIEW WITH PATRIC GAGNE by Emine Saner - 2024 (GUARDIAN)PATRIC GAGNE INSTAGRAMUPLIFTING MOVIESTASH DEMETRIOU'S PICKSWORKING GIRL Directed by Mike Nichols - 1989 (TRAILER ON YOUTUBE)BRIDESMAIDS Directed by Paul Feig - 2011 (TRAILER ON YOUTUBE)NOW AND THEN Directed by Lesli Linka Glatter - 1986 (TRAILER ON YOUTUBE)RICHARD AYOADE'S PICKSSTOP MAKING SENSE Directed by Jonathan Demme - 1984 (TRAILER ON YOUTUBE)MONTEREY POP Directed by D. A. Pennebaker - 1968 (TRAILER ON YOUTUBE)AMERICAN MOVIE Directed by Chris Smith - 1999 (TRAILER ON YOUTUBE)GARTH JENNINGS' PICKAMERICAN UTOPIA Directed by Spike Lee - 2021 (TRAILER ON YOUTUBE)ALEX HORNE'S PICKNEXT GOAL WINS Directed by Taika Waititi - 2023 (TRAILER ON YOUTUBE)JAMIE DEMETRIOU'S PICKNEXT GOAL WINS (ORIGINAL DOCUMENTARY) Directed by Mike Brett and Steve Jamison - 2014 (TRAILER ON YOUTUBE)KIM DEAL'S PICKSTHE OMEN Directed by Richard Donner - 1976 (FULL MOVIE ON YOUTUBE)SMILE 2 Directed by Charlie Sarroff - 2024 (TRAILER ON YOUTUBE) Hosted on Acast. See acast.com/privacy for more information.

Capturing the tense hours leading to a pivotal moment in live TV history, the new SATURDAY NIGHT is defined by a looming deadline that reminded us of another New York-based all-nighter captured on film: D.A. Pennebaker's 1970 TV pilot turned documentary film ORIGINAL CAST ALBUM: COMPANY. Despite being less than an hour long, the fly-on-the-wall document of Stephen Sondheim and company recording the definitive version of their Broadway hit in a single night provides no shortage of nuance to dig into like we're Sondheim parsing an F sharp that's drifted to A. And in Feedback we bring a comment from a recent bonus episode on BLINK TWICE over to the main show in order to discuss the relative value of movie twists. Please share your comments, thoughts, and questions about ORIGINAL CAST ALBUM: COMPANY, SATURDAY NIGHT, and anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Learn more about your ad choices. Visit megaphone.fm/adchoices

The new Dreamworks animated feature THE WILD ROBOT is partially about the struggles of parenthood, partially about the joys of community, and the larger idea bridging those two parts — that of being more than you were “programmed” to be — is also what links it most directly to Brad Bird's THE IRON GIANT. But there's a lot more going on in THE WILD ROBOT besides that, arguably too much, which forms the central debate of the first half of this week's discussion. Then we bring THE IRON GIANT back in to compare these films' shared big ideas about selfhood, souls, and sacrifice, how they're filtered through robots as metaphors of strength, and their respective depictions of humanity on the precipice of apocalypse. Then for Your Next Picture Show, we offer a trio of recommendations for films that account for other parts of WILD ROBOT's source code. Please share your comments, thoughts, and questions about THE IRON GIANT, THE WILD ROBOT, and anything else in the world of film by sending an email or voice memo to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Next Pairing: Jason Reitman's SATURDAY NIGHT and D.A. Pennebaker's ORIGINAL CAST ALBUM: COMPANY Learn more about your ad choices. Visit megaphone.fm/adchoices

If you've sought help for trauma-related symptoms you were probably told you needed to TALK about it. But a growing body of research shows that one of the most effective therapies for healing depression, anxiety and trauma is WRITING. In this video, I interview James Pennebaker, PhD, professor emeritus of psychology at the University of Texas at Austin. My work has been informed by his work since I first began Crappy Childhood Fairy, and this year I got to meet him in Austin and ask a thousand questions. This video was recorded later. Dr. Pennebaker's visionary work has been evaluated in more than 2000 peer-reviewed studies showing that writing is not only therapeutic but has lasting physiological, psychological and emotional benefits that can be measured after just one session. Try the FREE Daily Practice Course: FREE PDF Download: https://bit.ly/3Y4263I

Find out how speaking different languages can influence personality traits and emotional experiences. Discover the fascinating science of cultural frame shifting and how bilingualism affects different aspects of our personality.Learn about intriguing studies involving bilinguals and the role of emotional intelligence, and gain insights into how language impacts international business interactions.And you, do you feel different when you speak different languages? Tell us in this post: https://www.linkedin.com/feed/update/urn:li:activity:7251873054123773954 Research:Rezapour, R., & Zanjirani, S. (2020). Bilingualism and Personality Shifts: Different Personality Traits in Persian-English Bilinguals Shifting Between Two Languages.Chen, S. X., & Bond, M. H. (2010). Two Languages, Two Personalities? Examining Language Effects on the Expression of Personality in a Bilingual Context.Veltkamp, G. M., Recio, G., Jacobs, A. M., & Conrad, M. (2012). Is personality modulated by language? In International Journal of Bilingualism.Ożańska-Ponikwia, K. (2012). What has personality and emotional intelligence to do with ‘feeling different' while using a foreign language?Ramírez-Esparza, N., Gosling, S. D., Benet-Martínez, V., Potter, J. P., & Pennebaker, J. W. (2006). Do bilinguals have two personalities? A special case of cultural frame switching.Wedérus, T. (2017). Changing language, changing personality : Swedish bilinguals on the effects of speaking English (Dissertation).✨ Business English training for career success.Sign up and start learning for free.

For our 50th episode, we talk to the legend PEACHES CHRIST about one of her favorite music documentaries, D.A. Pennebaker & Chris Hegedus' DEPECHE MODE 101. We discuss why this film became Pennebaker's favorite film (over his films about Dylan & Bowie) and why the film director wasn't a fan when he first started the project, Peaches discovery and obsession with the VHS tape of this doc, how even though Depeche Mode were straight they loved their queer fans, how the band grew into a global sensation, the choices of editing in the film, how the filim was the precusor to MTV's The Real World & Road Rules, the time Peaches set the stage of her celebration of the film CARRIE on fire, John Waters & Mink Stole, youthful indescretions, the legendary film series MIDNIGHT MASS which includes drag queen rollerderbies and free lap dances with each tub of popcorn purchased, early Halloween productions in the woods, dealing with Russ Meyer, The Cockettes, the boredom and nerves of waiting to go onstage, how different the era was for the the kids in the film and how different it would be made today, the pressure of Depeche Mode playing the rose bowl, nerds as rock icon, Wax Trax Records, trying to upset your parents through your music tastes, when people who are mean to you start loving your favorite bands, Dave Gahan's stage presence, Freddie Mercury, Peaches' regrets with Depeche Mode and the band's crossover into the masses, waiting in line to get concert tickets in a mall, Robert Smith Vs. Ticketmaster, what the fans felt as Alan left Depeche Mode, the grind of band interviews, and Chris discusses the early days of his video store and the search for cult film obscurities.So let's watch the curtain drop to reveal the band on this week's Revolutions Per Movie!!!https://peacheschrist.comREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

James W. Pennebaker is Professor Emeritus of Psychology. He is continuing to explore natural language use, group dynamics, and personality in both laboratory and real world settings. His earlier work on expressive writing found that physical health and work performance can improve by simple writing and/or talking exercises. Author or editor of 12 books and over 300 articles, Pennebaker has received numerous research and teaching awards and honors. Books include: "Expressive Writing: Words That Heal""Opening Up by Writing It Down: How Expressive Writing Improves Health and Eases Emotional Pain""The Secret Life of Pronouns: What Our Words Say About Us"

We are SO BACK BABY! This week, Producer Corey takes over and hosts the most theatre kid episode we've ever seen. We're discussing the D.A. Pennebaker film, Original Cast Album: Company (1970) & the Documentary Now! Episode spoofing it, Original Cast Album: Co-Op (2019) We talk Sondheim, Elaine Stritch, John Mulaney, debate if the parody works, obsess over the modern musical, and so much more.  A HUGE thank you to Kalie McAlexander for our social media this season. Make sure to Follow us on FB, Twitter, Instagram, & Tiktok- hhynspod And, be sure to check out Kalie's podcast, The Liberty Hall Video podcast, where her and Jon discuss whatever they happen to pull off the shelves of the last video store on Earth!  A special thank you to our patrons- Carrie Betts, Sherry Betts, J.D. Smith, Darrin Freeborn, & Stephen Woosley.  If you'd like a shoutout on the show and bonus content, head over to our Patreon- patreon.com/hhynspod. 

This week we talk about research on the potential effects of race on the type of feedback and grades that students receive. In a recent study, poorly written college essays believed to be submitted by Black students were more leniently scored. White raters gave Black writers more overt praise and encouragement, but offered less helpful feedback and critical analysis. Discomfort with the grading task exacerbated the effects. Mike and Elizabeth discuss bias born of egalitarian values, the tyranny of low expectations, and what what research like this may reveal about the value of education. Podcast Notes: Harber, K. D., Reeves, S., Gorman, J. L., Williams, C. H., Malin, J., & Pennebaker, J. W. (2019). The conflicted language of interracial feedback. Journal of Educational Psychology, 111(7), 1220–1242.

Historian Ronnie Grinberg's new book Write Like a Man: Jewish Masculinity and the New York Intellectuals couldn't be better "Know Your Enemy" fodder. (Main characters include: Midge Decter and Norman Podhoretz, Diana and Lionel Trilling, Irving Howe, Alfred Kazin, and Mary McCarthy!) These writers, Grinberg shows, built and sustained a novel, secular, Jewish, and masculine concept of the intellectual life, an ideology that would profoundly affected the development of  Cold War liberalism, neo-conservativism, Zionism, and right-wing reaction against feminism, gay rights, and black power. As we discovered in this conversation, it's impossible to make sense of the creative and scholarly contributions of the New York Intellectuals — good and bad — without gender as an essential lens. Moreover, Grinberg shows how scholars can easily misapprehend the deeper motivations for neoconservative reaction (among those such as Podhoretz and Decter) if they are not attentive to the centrality of gender, sexuality, and patriarchy in these thinkers' work.  Further Reading:Ronnie Grinberg, Write Like a Man: Jewish Masculinity and the New York Intellectuals (Mar 2024)Sam Adler-Bell, "The New York Intellectuals Were a Boys' Club," Chronicle of Higher Education, Apr 10, 2024Matthew Sitman, "Midge Decter to Howard Meyer, April 15, 1987," Friends and Enemies, Apr 8, 2024B.D. McClay, "Of Course They Hated Her: The Uncomfortable Honesty of Mary McCarthy," Commonweal, Dec 18, 2017William Barrett, The Truants: Adventures Among the Intellectuals (1982)Mary McCarthy, The Group (1963)Tess Slesinger, The Unpossessed (1934)Norman Podhoretz, Breaking Ranks: A Political Memoir (1979)Irving Howe, World of Our Fathers (1976)Further Viewing:D. A. Pennebaker and Chris Hegedus,"Town Bloody Hall" (1979)Further Listening:KYE, "Midge Decter, Anti-Feminist Cold Warrior (w/ Moira Donegan and Adrian Daub," Jul 28, 2023KYE, "What Happened to Norman (w/ David Klion)," Jan 16, 2020

This week, we talk to the director Jeff Feuerzeig (The Devil And Daniel Johnston, Half Japanese: The Band That Would Be King, Author: The JT LeRoy Story) about one of his favorite music documentaries, the 1965 Rolling Stones Tour film, CHARLIE IS MY DARLING, a film missing until 2012. We discussed how Jeff creates his legendary projects, what makes this rarely-seen Stones doc so essential and overlooked, the era of rock band managers being household names, loving “Maraca” Mick Jagger, Pennebaker's Dylan film Don't Look Back, the sweet spot of 65-66 Rolling Stones and the riots they are causing at their Ireland live shows, psychedelic soup, Bowie & Kubrick, Spacemen 3, Bo Diddley covers, controlling the image of The Stones, The Who, The Monks, the mystery behind the disappearance and discovery of this lost film, rock n' roll bladder control, cinema verite, and Jeff shares a few other surprises!So let's rush the stage for a piece of Brian Jones' hair on this week's episode of Revolutions Per Movie!JEFF FEUEREZEIG:https://www.jefffeuerzeig.com/CHARLIE IS MY DARLING:https://www.youtube.com/playlist?list=PLSgcFXy_-eBXSO9flKlERJB8AmIfgkf1xRevolutions Per Movie:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support the show is through our Patreon at patreon.com/revolutionspermovie, where you can get weekly bonus episodes and exclusive goods sent to you just for joining.Socials:@revolutionspermovieX, BlueSky: @revpermovieTheme by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comArtwork by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Have you ever heard of the Pennebaker Method? It's a protocol of using expressive writing to move through traumatic or stressful situations in order to find more peace and hope in their aftermath. It's completely free and available at anytime to anyone, which is one of the reasons we recommend it - no matter what you're going through it could help! People who use the method widely report feeling much better in body and mind after the practice. Here we discuss it in detail and share our personal experiences using it to work through our own real life hang ups. If you need to remember the protocol for your own use remember the Es: write for at least 15 minutes, on 4 separate days about the Event, your Emotions (at the time and now) and the Effects on your life.Though it can be an intense process to write expressively about something painful in our past, we also discuss the science of why it works to face these things head on. When we  bring the situation out of our subconscious through language, we can handle it with our whole mind, which helps our systems regulate and our spirits find peace. This episode is based on information from the Huberman Lab Podcast: A Science-Supported Journaling Protocol to Improve Mental and Physical Health 

Co-hosts Ann and Sue discuss this powerful tool directly with the original researcher, Dr. James Pennebaker. While expressive writing is not a simple "elixir" to cure mental or physical illness, Dr. Pennebaker has dedicated years of research and found it to be an effective method of healing for many people. Going straight for the hardest memory is hard, but replicates many techniques used by therapists yet without the cost and accessibility barriers. www.therapistuncensored.com/tu225. www.securerelatingbook.com

EPISODE #975 ROCK JOURNALIST HARVEY KUBERNIK ON THE ROLLING STONES Richard welcomes music historian/Rock Journalist Harvey Kubernik who wrote d the introduction to a new collection of photographs and essays, "The Rolling Stones: Icons." He discusses his own personal history with the individual members of the group as well as the legendary band's history and legacy. GUEST: Harvey Kubernik is the author of 19 books, including "Canyon Of Dreams: The Magic And The Music Of Laurel Canyon" and "Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972." Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik's "The Story Of The Band: From Big Pink To The Last Waltz." For summer 2021 the duo has written a multi-narrative book on Jimi Hendrix for the publisher. Otherworld Cottage Industries in July 2020 published Harvey's 508-page book, "Docs That Rock, Music That Matters," featuring Harvey's interviews with D.A. Pennebaker, Chris Hegedus, Albert Maysles, Murray Lerner, Morgan Neville, Curtis Hanson, Michael Lindsay-Hogg, Andrew Loog Oldham, Dick Clark, Ray Manzarek, Travis Pike, Allan Arkush, and David Leaf, among others. Harvey is active in the music documentary and TV/film world. In 2020 Kubernik served as Consultant on "Laurel Canyon: A Place In Time" documentary directed by Alison Ellwood which debuted in 2020 on the EPIX/MGM television channel. Kubernik's writings are in several book anthologies, most notably "The Rolling Stone Book Of The Beats" and "Drinking With Bukowski." WEBSITE: https://www.otherworldcottageindustries.com/KUBERNIK'SCORNER.html BOOKS: The Rolling Stones: Icons Jimi Hendrix: Voodoo Child DOCS THAT ROCK, MUSIC THAT MATTERS 1967: A Complete Rock Music History of the Summer of Love Turn Up the Radio!: Rock, Pop, and Roll in Los Angeles 1956 1972 BECOME A PREMIUM SUBSCRIBER!!! https://strangeplanet.supportingcast.fm Use the discount code "Planet" to receive one month off the first subscription. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

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

James Carville, America's best-known Democratic political consultant, has been on the scene for a very long time and has worked on just about a thousand campaigns—he's almost 80. But his most prominent victory was Bill Clinton's successful run for the presidency in 1992, which was documented in the incredible D. A. Pennebaker documentary War Room. Some people watch Notting Hill as a comfort movie. For me, it's War Room. So you can imagine my excitement when I met Carville at The Texas Tribune Festival and noticed that he was wearing the exact same iconic purple, gold, and green striped LSU polo that he wore in War Room. It was actually quite fitting, and symbolic: a whole lot has changed in American politics over the last 30 years. Carville's style—blunt, charming, unconventional, and usually right—has not.  The people closest to Carville have other ways of describing the political icon. His former business partner, Paul Begala, has said that “James lives in a border town between genius and madness. Now that he's rich and famous, he's eccentric. I knew him when he was just crazy.” His wife, Mary Matalin, who is a Republican Party consultant, has said: “He really is a nut.” Our conversation—which was recorded in a room full of three hundred Rachel Maddow die-hards—covered a range of political commentary, criticism, and diagnosis: whether or not he thinks Biden is too old to run again, why he thinks Kamala Harris is treated unfairly by the press, the direction of the Democratic Party, why he thinks wokeness “is over,” and, of course, Trump and the future of America.  Learn more about your ad choices. Visit megaphone.fm/adchoices