Browse content similar to Janis Joplin: Little Girl Blue. Check below for episodes and series from the same categories and more!
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This programme contains very strong language | 0:00:02 | 0:00:06 | |
-Why sing? -Why do you sing? -Well, because I get to experience | 0:00:06 | 0:00:10 | |
a lot of feelings, it's really a lot of fun. You get to feel all kinds of things | 0:00:10 | 0:00:14 | |
that you can hardly find if you went to parties all year round | 0:00:14 | 0:00:17 | |
and made it with everyone you ever wanted to. | 0:00:17 | 0:00:20 | |
Because you get to feel things that are in your imagination | 0:00:20 | 0:00:22 | |
and are the real truth. That's why I like music, because it's creative | 0:00:22 | 0:00:27 | |
and, as it's happening, creates feelings. | 0:00:27 | 0:00:30 | |
What could I feel if I attended your concert tonight? | 0:00:30 | 0:00:33 | |
I'd like you to feel like standing up and jumping up and down in time with the music | 0:00:33 | 0:00:37 | |
and get sweaty and just go with the music. Just go with it. | 0:00:37 | 0:00:41 | |
Like, rock-and-roll's very rhythmic, that's what it's all about, you know. | 0:00:41 | 0:00:44 | |
It's one, two, three, four. | 0:00:44 | 0:00:46 | |
# Ye-ah | 0:00:46 | 0:00:48 | |
# You thought you had found yourself a good girl | 0:00:48 | 0:00:50 | |
# One who would love you and give you the world | 0:00:50 | 0:00:53 | |
# Then you find out that you've been misused | 0:00:53 | 0:00:56 | |
# Come to me, honey I'll do what you choose | 0:00:56 | 0:00:58 | |
# I want you Well, tell mama all about it | 0:00:58 | 0:01:02 | |
# You tell mama what you feel | 0:01:02 | 0:01:05 | |
# Tell your mama, babe what you want | 0:01:05 | 0:01:08 | |
# Tell your mama, babe what you need | 0:01:08 | 0:01:11 | |
# What you want What you need | 0:01:11 | 0:01:13 | |
# What you want, whoa | 0:01:13 | 0:01:16 | |
# I'll make everything all right | 0:01:16 | 0:01:18 | |
# I tell you When you get lonely... # | 0:01:18 | 0:01:22 | |
I figure everybody does, huh? | 0:01:22 | 0:01:25 | |
Because, as a matter of fact, everybody does. | 0:01:25 | 0:01:27 | |
I'll tell you what you need, baby, when you get those strange thoughts in your head, | 0:01:27 | 0:01:31 | |
you don't know where they came from, man. You get those strange, little weirdnesses | 0:01:31 | 0:01:35 | |
happening to you, you don't know what they are. | 0:01:35 | 0:01:37 | |
I'll tell you what you need. | 0:01:37 | 0:01:39 | |
# You need a sweet loving mama, babe | 0:01:39 | 0:01:41 | |
# Honey, a sweet talking mama, babe | 0:01:41 | 0:01:44 | |
# You know, somebody to listen to you | 0:01:44 | 0:01:46 | |
# Someone to want you Someone to hold you | 0:01:46 | 0:01:49 | |
# Someone to need you Someone to use you | 0:01:49 | 0:01:51 | |
# Someone to want you Someone to need you | 0:01:51 | 0:01:54 | |
# Someone to hold you | 0:01:54 | 0:01:56 | |
# You need a mama-ma-ma ma-ma mama, babe | 0:01:56 | 0:01:59 | |
# Go to a mama-ma-ma-ma, yeah | 0:01:59 | 0:02:02 | |
# Mama-ma-ma-ma-mama | 0:02:02 | 0:02:04 | |
# Tell mama all about it | 0:02:04 | 0:02:07 | |
# Tell mama all about it | 0:02:07 | 0:02:10 | |
# What you need What you want | 0:02:10 | 0:02:13 | |
# Anything I can do | 0:02:13 | 0:02:16 | |
# Anything I can do | 0:02:16 | 0:02:18 | |
# I'll be your mama, babe Yeah, your mama, babe | 0:02:18 | 0:02:21 | |
# Whoa, your mama, babe Your mama, babe | 0:02:21 | 0:02:24 | |
# Whoa, mama, babe Whoa, mama, babe | 0:02:24 | 0:02:27 | |
# Wow! I'll make everything all right. # | 0:02:27 | 0:02:29 | |
RAUCOUS CHEERING | 0:02:44 | 0:02:46 | |
"Dear family, I managed to pass my 27th birthday | 0:02:52 | 0:02:57 | |
"without really feeling it. | 0:02:57 | 0:03:00 | |
"It's such a funny game. | 0:03:00 | 0:03:04 | |
"Two years ago, I didn't even want to be in it. | 0:03:04 | 0:03:07 | |
"No, that's not true. I've been looking around and I've noticed something. | 0:03:07 | 0:03:11 | |
"After you reach a certain level of talent - | 0:03:11 | 0:03:14 | |
"and quite a few have that talent - the deciding factor is ambition. | 0:03:14 | 0:03:18 | |
"Or, as I see it, how much you really need. | 0:03:18 | 0:03:20 | |
"Need to be loved and need to be proud of yourself. | 0:03:20 | 0:03:24 | |
"And I guess that's what ambition is, | 0:03:25 | 0:03:28 | |
"it's not all a depraved quest for position or money. | 0:03:28 | 0:03:31 | |
"Maybe it's for love, lots of love. | 0:03:31 | 0:03:34 | |
"Hah! Janis." | 0:03:34 | 0:03:36 | |
Port Arthur - to a lot of people, it was a really good town to grow up in. | 0:03:46 | 0:03:52 | |
I never thought so. Janis never thought so | 0:03:52 | 0:03:56 | |
and she couldn't figure out how to make herself | 0:03:56 | 0:04:01 | |
like everybody else. | 0:04:01 | 0:04:03 | |
Thank goodness. | 0:04:04 | 0:04:05 | |
# And if my love could take a walk... # | 0:04:05 | 0:04:11 | |
Our parents, I'm not exactly sure how they actually met, | 0:04:11 | 0:04:15 | |
but they started dating after mother had gone away to college | 0:04:15 | 0:04:18 | |
and come back and started working. | 0:04:18 | 0:04:21 | |
Daddy was a mechanical engineer, but he was able to get a job | 0:04:21 | 0:04:25 | |
because at that time so many people were away fighting, you know. | 0:04:25 | 0:04:30 | |
So he got a job at Texaco and he stayed there his entire working life. | 0:04:30 | 0:04:34 | |
And he came home from work one day and told mother, | 0:04:34 | 0:04:37 | |
"Let's do something for posterity." | 0:04:37 | 0:04:41 | |
So, that's Janis being born in 1943. | 0:04:41 | 0:04:44 | |
She joined the choir and they kicked her out of the choir. | 0:04:57 | 0:05:04 | |
She wouldn't follow directions and they said, "You're out!" | 0:05:05 | 0:05:09 | |
Like most women, Janis wanted to be beautiful and curvaceous and skinny | 0:05:17 | 0:05:22 | |
like the pictures that she saw in magazines. | 0:05:22 | 0:05:26 | |
And she saw herself, you know, gain weight and get chunky, | 0:05:26 | 0:05:32 | |
her skin broke out and her features weren't that fine, beautiful female | 0:05:32 | 0:05:37 | |
that we see in pictures everywhere. | 0:05:37 | 0:05:39 | |
And so she had questions about her own desirability. | 0:05:42 | 0:05:47 | |
# It don't make no difference, babe yeah | 0:05:47 | 0:05:51 | |
# I better hold it now | 0:05:51 | 0:05:53 | |
# I better need it, yeah | 0:05:53 | 0:05:55 | |
# I better use it till the day I die... # | 0:05:55 | 0:05:59 | |
She demanded to be different. | 0:05:59 | 0:06:01 | |
You know, our parents had given us permission to do it | 0:06:01 | 0:06:04 | |
and then weren't aware of what would happen if you did it. | 0:06:04 | 0:06:08 | |
Janis was the first one in our family to find that out. | 0:06:08 | 0:06:12 | |
That if you are rocking the boat | 0:06:12 | 0:06:15 | |
you might get noticed and she rocked the boat as often as she could. | 0:06:15 | 0:06:20 | |
She liked rocking the boat. | 0:06:20 | 0:06:21 | |
The world was changing and I think that Janis's interpretation | 0:06:24 | 0:06:28 | |
of what being good was included things that a lot of people | 0:06:28 | 0:06:33 | |
in the South weren't yet ready to include. | 0:06:33 | 0:06:35 | |
She said, "I think integration is the right thing to do." | 0:06:35 | 0:06:39 | |
Well, our hometown had an active KKK chapter | 0:06:39 | 0:06:43 | |
and what happened was she was harassed by some guys in her class, | 0:06:43 | 0:06:49 | |
they threw pennies at her, they called her names | 0:06:49 | 0:06:52 | |
and she became a target for the last three years of high school. | 0:06:52 | 0:06:57 | |
She started dressing differently, wearing loafers without socks | 0:07:02 | 0:07:06 | |
and tight skirts. Her hair was becoming more like a beatnik | 0:07:06 | 0:07:11 | |
and still there was an aspect of her sexuality and her personality | 0:07:11 | 0:07:16 | |
that was at odds. Where does she go? What does she do? | 0:07:16 | 0:07:20 | |
She was pushing the limits and women weren't supposed to swear | 0:07:22 | 0:07:26 | |
and women were supposed to be demure | 0:07:26 | 0:07:29 | |
and not know that anything existed below their waistlines. | 0:07:29 | 0:07:33 | |
I met her in high school and she wouldn't go away. | 0:07:33 | 0:07:37 | |
She was always calling us up, one of us or the other | 0:07:37 | 0:07:40 | |
and say, "What are you doing tonight? Where are we going?" | 0:07:40 | 0:07:43 | |
She was a lot of trouble. We went to Louisiana and she would start fights, | 0:07:46 | 0:07:52 | |
which we didn't want started because the Cajuns were known | 0:07:52 | 0:07:55 | |
good fighters, but she got a kick out of it just playing the bad girl. | 0:07:55 | 0:08:00 | |
She wasn't a bad girl, but she just liked to bait the men. | 0:08:00 | 0:08:04 | |
You know, we would deny all knowledge of her | 0:08:04 | 0:08:09 | |
and barely escaped with our lives. | 0:08:09 | 0:08:11 | |
That made her real dangerous to take to a bar. | 0:08:11 | 0:08:14 | |
I mean, she was amusing. So, we took her to the beach with us. | 0:08:22 | 0:08:25 | |
She borrowed some records which were obscure. | 0:08:25 | 0:08:29 | |
One of them was a record by Odetta. | 0:08:29 | 0:08:32 | |
# Love | 0:08:32 | 0:08:34 | |
# Oh, love Oh, careless love... # | 0:08:34 | 0:08:37 | |
All of a sudden, she busted into a perfect imitation of Odetta | 0:08:37 | 0:08:41 | |
on the record and everybody was just stunned. | 0:08:41 | 0:08:45 | |
This little troublesome kid, you know, can sing that well. | 0:08:46 | 0:08:51 | |
# Oh, love Oh, love | 0:08:53 | 0:08:56 | |
# Oh, careless love | 0:08:56 | 0:09:00 | |
# Oh, love, oh, love Oh, careless love | 0:09:01 | 0:09:07 | |
# Well, love Oh-oh, love | 0:09:09 | 0:09:13 | |
# Oh, careless love... # | 0:09:13 | 0:09:16 | |
This particular night, Janis said let's go see this wonderful Austin | 0:09:22 | 0:09:27 | |
you're always talking about. | 0:09:27 | 0:09:29 | |
So, we pulled in at 5:30 in the morning | 0:09:30 | 0:09:35 | |
and you could hear music... | 0:09:35 | 0:09:37 | |
..and it wasn't recorded music, it was live music | 0:09:38 | 0:09:42 | |
and Janis grabbed my arm and she said, "Jack, I'm going to like it here." | 0:09:42 | 0:09:47 | |
Well, that's when I discovered that I had an incredibly loud voice. | 0:09:55 | 0:09:59 | |
So, I started singing blues, because that was always what I liked. | 0:09:59 | 0:10:02 | |
And, you know, I got a bluegrass band, | 0:10:02 | 0:10:05 | |
played hillbilly music in Austin, Texas, for free beer. | 0:10:05 | 0:10:09 | |
I used to sing in folk clubs just for goofs. | 0:10:09 | 0:10:12 | |
We called ourselves the Waller Creek Boys... | 0:10:14 | 0:10:17 | |
..and instantly Janis became one of the boys. | 0:10:19 | 0:10:23 | |
People just stared open-mouthed | 0:10:27 | 0:10:30 | |
and she was not ever accepted, really, | 0:10:30 | 0:10:33 | |
except by the folk community. | 0:10:33 | 0:10:35 | |
Growing up, her peers picked on her and bullied her | 0:10:38 | 0:10:42 | |
and by the time she got to Austin and by the time I knew her, | 0:10:42 | 0:10:46 | |
she had already been profoundly hurt over and over. | 0:10:46 | 0:10:51 | |
And so in Austin, it was the same way. | 0:10:51 | 0:10:54 | |
Every year, the fraternities held a contest | 0:10:57 | 0:11:01 | |
and people could nominate someone to be ugliest man | 0:11:01 | 0:11:05 | |
and someone nominated Janis and all these jerks voted for her... | 0:11:05 | 0:11:10 | |
..and it crushed her. | 0:11:12 | 0:11:14 | |
Saddest thing I ever saw, you know. It really was. | 0:11:16 | 0:11:21 | |
Till that point, I'd never seen Janis cry. | 0:11:24 | 0:11:28 | |
Janis had a very tough exterior. | 0:11:28 | 0:11:30 | |
But it really got her bad | 0:11:31 | 0:11:35 | |
and I said, "Janis, they don't mean anything to you. | 0:11:35 | 0:11:38 | |
"They're...They're not even in your class." | 0:11:38 | 0:11:43 | |
It became increasingly harder to fit into a group of angry, | 0:11:43 | 0:11:48 | |
angry men who liked to pick on her. | 0:11:48 | 0:11:50 | |
Even though she ran around with a tight group of friends who | 0:11:53 | 0:11:55 | |
were into books and ideas, she needed to go out to where | 0:11:55 | 0:11:59 | |
the people were that wrote those books. | 0:11:59 | 0:12:02 | |
Where the people were that sang those songs. | 0:12:02 | 0:12:05 | |
Where does she go? What does she do? | 0:12:05 | 0:12:07 | |
# I just had to get out of Texas, baby | 0:12:10 | 0:12:15 | |
# Lord, it was bringing me down... # | 0:12:15 | 0:12:19 | |
When did you come to San Francisco? | 0:12:19 | 0:12:21 | |
In about '63 was when I couldn't stand Texas any more | 0:12:21 | 0:12:25 | |
and I went to California, because it's a lot freer | 0:12:25 | 0:12:28 | |
and you can do what you want to do and nobody bugs you. | 0:12:28 | 0:12:32 | |
'15,000 San Franciscans protest segregation in Birmingham. | 0:12:32 | 0:12:36 | |
'Negro and white citizens marching in unity for equality in San Francisco.' | 0:12:36 | 0:12:41 | |
We used to all hang out at a bar called the Anxious Asp | 0:12:44 | 0:12:47 | |
on Green Street, North Beach. | 0:12:47 | 0:12:49 | |
We went to a party one night and, you know, with a little bit of wine | 0:12:51 | 0:12:54 | |
and a little bit of, you know, whatever, | 0:12:54 | 0:12:57 | |
We kind of got to talking and two weeks later she moved in with me. | 0:12:57 | 0:13:02 | |
Sometime we went down to Monterey | 0:13:05 | 0:13:07 | |
and she would sing in the hootenannies | 0:13:07 | 0:13:09 | |
and she would win tickets for us to get to the main arena. | 0:13:09 | 0:13:13 | |
One time, we went there and there was Bob Dylan, her idol. | 0:13:13 | 0:13:17 | |
And she walks up to him and she said, "Oh, Bob. I just love you! | 0:13:17 | 0:13:22 | |
"You know, I'm going to be famous one day." He said, "Yeah. | 0:13:22 | 0:13:25 | |
"We're all going to be famous." I'll never forget that. | 0:13:25 | 0:13:27 | |
SHE LAUGHS | 0:13:27 | 0:13:29 | |
She definitely felt the blues. | 0:13:31 | 0:13:34 | |
Bessie Smith and all the blues singers, she loved those people. | 0:13:34 | 0:13:38 | |
And I think she emulated them in the sense of wanting to be like them. | 0:13:38 | 0:13:43 | |
You know, to have the pain. | 0:13:43 | 0:13:44 | |
I guess that's why she drank like she did and took drugs | 0:13:44 | 0:13:47 | |
because that's all part of the whole picture. | 0:13:47 | 0:13:50 | |
She definitely needed people to tell her how great she was | 0:13:54 | 0:13:57 | |
and she needed that stroking all the time. | 0:13:57 | 0:14:00 | |
I don't think she was with girls to shock people, I think | 0:14:02 | 0:14:05 | |
she was with girls because that's what she felt at the moment. | 0:14:05 | 0:14:09 | |
And I think she was totally in a conflict all the time with herself. | 0:14:09 | 0:14:13 | |
Constantly. | 0:14:13 | 0:14:14 | |
And she was unhappy, she was quite unhappy and I think on the stage, | 0:14:14 | 0:14:20 | |
it made her feel that she was somebody, you know. | 0:14:20 | 0:14:23 | |
That she had something to offer. | 0:14:23 | 0:14:26 | |
I said, "I just think this is not working for both of us, | 0:14:26 | 0:14:28 | |
"you want to go off and do things with other people | 0:14:28 | 0:14:31 | |
"and I'm not strong enough to handle that." | 0:14:31 | 0:14:33 | |
She got with this English fella and they were into shooting up | 0:14:35 | 0:14:39 | |
and stuff like that and that was never my style. | 0:14:39 | 0:14:41 | |
You know, I could just never get into that. | 0:14:41 | 0:14:44 | |
Janis was in North Beach and she developed an intense relationship | 0:14:44 | 0:14:50 | |
with Peter de Blanc, then Janis got into methedrine. | 0:14:50 | 0:14:53 | |
Janis told me that they were living in that building | 0:14:54 | 0:14:57 | |
behind Tommy's joint | 0:14:57 | 0:14:59 | |
and had not a stick of furniture | 0:14:59 | 0:15:02 | |
and Peter was just sitting there for hours on end | 0:15:02 | 0:15:04 | |
throwing a Super Ball against the wall and catching it... | 0:15:04 | 0:15:07 | |
..and she was skin and bones. | 0:15:09 | 0:15:11 | |
She used - overused - lost weight, | 0:15:13 | 0:15:16 | |
got so strung out that her group of friends | 0:15:16 | 0:15:20 | |
held a party and they passed a hat to get enough money | 0:15:20 | 0:15:24 | |
to put her on a Greyhound bus and send her back home. | 0:15:24 | 0:15:27 | |
# A woman left lonely... # | 0:15:34 | 0:15:38 | |
She and Peter decided that they both needed to get their lives cleaned up | 0:15:38 | 0:15:42 | |
and would go to their home towns and get their lives together | 0:15:42 | 0:15:45 | |
and then they'd get together and get married. | 0:15:45 | 0:15:47 | |
# She'll do crazy things, yeah-eh | 0:15:47 | 0:15:53 | |
# On lonely occasions... # | 0:15:53 | 0:15:57 | |
"Dear Peter, well, I'm home now. | 0:15:57 | 0:16:00 | |
"I have your picture on the desk where I do my homework | 0:16:00 | 0:16:03 | |
"and everyone in the family has seen it at least three times. | 0:16:03 | 0:16:06 | |
"Everyone agrees you're handsome, | 0:16:06 | 0:16:08 | |
"I really love you. | 0:16:08 | 0:16:10 | |
"In attempting to find a semblance of a pattern in my life, | 0:16:10 | 0:16:14 | |
"I find I have gone out with great vigour every time | 0:16:14 | 0:16:16 | |
"and gotten really fucked up. | 0:16:16 | 0:16:19 | |
"All I did was be wild, drink constantly, fucked people, sang. | 0:16:19 | 0:16:24 | |
"In San Francisco, kind of wanting to find an old man and be happy, | 0:16:24 | 0:16:27 | |
"but I didn't. I just found Linda and became a meth freak. | 0:16:27 | 0:16:31 | |
"Jesus fucking Christ, I want to be happy so fucking bad." | 0:16:33 | 0:16:38 | |
# ..for granted, Lord, yeah | 0:16:38 | 0:16:43 | |
# Honey, she doesn't understand | 0:16:43 | 0:16:46 | |
# No, no... # | 0:16:46 | 0:16:49 | |
He came home at one point and met the family | 0:16:49 | 0:16:53 | |
and asked our father formally for her hand in marriage. | 0:16:53 | 0:16:57 | |
"Well, now it's Saturday and your letter didn't come. | 0:16:57 | 0:17:02 | |
"So, I'm very sad and moping around the house and mother's worried. | 0:17:02 | 0:17:06 | |
"Baby, what's happening? | 0:17:06 | 0:17:08 | |
"You could really be hurting me and, hell, I couldn't tell. | 0:17:08 | 0:17:12 | |
"Am I still happy? | 0:17:12 | 0:17:14 | |
"Do I still have you?" | 0:17:14 | 0:17:17 | |
She was embarrassed that he wasn't going to show up | 0:17:17 | 0:17:19 | |
after she had told her mom and dad that he was. | 0:17:19 | 0:17:23 | |
He was evidently living with a woman who had gotten pregnant | 0:17:23 | 0:17:26 | |
and Janis only discovered that when she happened to call him | 0:17:26 | 0:17:29 | |
and this woman answered the telephone. | 0:17:29 | 0:17:32 | |
Did you ever go back to Port Arthur? | 0:17:38 | 0:17:39 | |
I went back once, it was a bummer. | 0:17:39 | 0:17:42 | |
I ain't going back again! No, it's no good. | 0:17:42 | 0:17:46 | |
Chet asked me to come and see his new band and that's when | 0:17:48 | 0:17:53 | |
I heard that Big Brother was auditioning women. | 0:17:53 | 0:17:56 | |
So, I went by his house and said, you know, "I'm going to go home | 0:17:56 | 0:17:59 | |
"I can ask about Janis, if you like." | 0:17:59 | 0:18:02 | |
And she found out that I was there and we spent the whole day | 0:18:02 | 0:18:05 | |
talking about what was going on since she had left | 0:18:05 | 0:18:09 | |
and we should go and see a rock and roll band | 0:18:09 | 0:18:11 | |
and there's one playing around the corner. | 0:18:11 | 0:18:14 | |
Didn't have anything to drink because she was sober | 0:18:14 | 0:18:17 | |
and we listened to, I think, two songs and she turned to me | 0:18:17 | 0:18:22 | |
and she said, "That's what I want to do!" So I said, "OK. Let's go figure this out." | 0:18:22 | 0:18:27 | |
He said, "I'm not going to go and take you until you tell your parents." | 0:18:27 | 0:18:31 | |
He waited in the car while Janis went in to tell our parents. | 0:18:31 | 0:18:35 | |
Janis went in and said she was going to Austin for the weekend and left | 0:18:35 | 0:18:40 | |
and went to San Francisco. | 0:18:40 | 0:18:43 | |
# I guess I'm going to make it somehow | 0:18:43 | 0:18:47 | |
# But you made nothing with me darling... # | 0:18:47 | 0:18:49 | |
"Mother and Dad, with a great deal of trepidation, | 0:18:49 | 0:18:53 | |
"I bring the news - | 0:18:53 | 0:18:54 | |
"I'm in San Francisco. | 0:18:54 | 0:18:56 | |
"Now, let me explain. | 0:18:56 | 0:18:59 | |
"Chet Helms is an old friend, now he's Mr Big in SF. | 0:18:59 | 0:19:03 | |
"He encouraged me to come out, | 0:19:03 | 0:19:05 | |
"it seems the whole city had gone rock and roll and it has. | 0:19:05 | 0:19:08 | |
"And he assured me fame and fortune, so I came. | 0:19:08 | 0:19:13 | |
"I'm so sorry. | 0:19:13 | 0:19:15 | |
"My love to Mike and Laura. Love, Janis." | 0:19:15 | 0:19:18 | |
MUSIC: Down On Me by Big Brother and The Holding Company | 0:19:21 | 0:19:24 | |
# Looks like everybody in this whole round world | 0:19:38 | 0:19:42 | |
# They're down on me Come on... # | 0:19:44 | 0:19:47 | |
I would pick her up and I'd drive her back to where she was staying. | 0:19:47 | 0:19:50 | |
I mean, she was always like, "I don't know whether this | 0:19:50 | 0:19:54 | |
"is going to work out. I probably... I should go back to Texas. | 0:19:54 | 0:19:58 | |
"I don't know if I should do this." She had a lot of misgivings. | 0:19:58 | 0:20:02 | |
She was very afraid of drugs. | 0:20:02 | 0:20:05 | |
She said, I don't ever want to see anybody shooting drugs. | 0:20:07 | 0:20:11 | |
I can't stand to see that, because if I see that, | 0:20:11 | 0:20:15 | |
it's just going to take her out so much. | 0:20:15 | 0:20:17 | |
She came out to San Francisco and had this coffee-house career. | 0:20:17 | 0:20:21 | |
She almost died that time, she lost all this weight | 0:20:21 | 0:20:24 | |
and she went back to Texas | 0:20:24 | 0:20:26 | |
and, you know, her mother said, "If you ever go back out there again, you're going to die." | 0:20:26 | 0:20:30 | |
# When you see a hand that's held out towards you | 0:20:42 | 0:20:45 | |
# Give it some love... # | 0:20:45 | 0:20:47 | |
-Did your parents encourage you to sing at all? -Oh, no, no, no. | 0:20:47 | 0:20:50 | |
They wanted me to be a schoolteacher, you know. | 0:20:50 | 0:20:53 | |
Like all parents. | 0:20:53 | 0:20:55 | |
But I just started singing when I was about 17. | 0:20:55 | 0:20:58 | |
I listened to a lot of music first, you know, | 0:20:58 | 0:21:00 | |
and one day I started singing and I could sing. It was like, | 0:21:00 | 0:21:03 | |
it was a surprise. | 0:21:03 | 0:21:05 | |
To say the least. | 0:21:05 | 0:21:07 | |
# Said jack o'diamonds Said jack o'diamonds | 0:21:07 | 0:21:10 | |
# Whoa-oh, I know you of old | 0:21:10 | 0:21:13 | |
# Honey, you robbed me out of my silver | 0:21:13 | 0:21:17 | |
# And out of all my gold... # | 0:21:17 | 0:21:20 | |
"Dear Mother and Dad, Daddy brought up the college issue, which is good, | 0:21:20 | 0:21:23 | |
"because I probably would have continued avoiding it till it went away. | 0:21:23 | 0:21:27 | |
"I don't think I can go back now. | 0:21:27 | 0:21:29 | |
"I don't know all the reasons, but I just feel this is a truer feeling, true to me. | 0:21:29 | 0:21:33 | |
"I don't feel like I'm lying now." | 0:21:33 | 0:21:36 | |
# Now see the cuckoo she's a cruel bird | 0:21:37 | 0:21:41 | |
# And she warbles when she flies... # | 0:21:41 | 0:21:44 | |
"I have to see this through first. If I don't, I'd always be | 0:21:44 | 0:21:46 | |
"thinking about singing and being good and known | 0:21:46 | 0:21:49 | |
"and feel like I cheated myself, you know." | 0:21:49 | 0:21:51 | |
# Well, say goodbye Well, say goodbye | 0:21:51 | 0:21:54 | |
# Ooh-hoo-hoo... # | 0:21:54 | 0:21:56 | |
"Weak as it is, I apologise for being so just plain bad at the family. | 0:21:58 | 0:22:03 | |
"I'm just sorry. | 0:22:03 | 0:22:06 | |
"Love, Janis." | 0:22:06 | 0:22:08 | |
Folk blues, you know. I was a folk singer, you know, | 0:22:11 | 0:22:14 | |
and sang blues mostly. Country blues, old-time blues, slow... | 0:22:14 | 0:22:19 | |
-Didn't you have a job soldering once? -Soldering? | 0:22:19 | 0:22:22 | |
No, a keypunch operator. | 0:22:22 | 0:22:24 | |
I was a waitress in a bowling alley once, too. | 0:22:24 | 0:22:27 | |
Playing is the life, the most just fun there is. | 0:22:27 | 0:22:31 | |
Feeling things and really getting into it. That's fun. | 0:22:31 | 0:22:35 | |
# Amazing Grace | 0:22:35 | 0:22:37 | |
# Well, how sweet the sound | 0:22:37 | 0:22:40 | |
# That saved a sinning wretch like me... # | 0:22:40 | 0:22:43 | |
At that time, there was definitely a sense of camaraderie. | 0:22:43 | 0:22:48 | |
If you knew the Grateful Dead had a house on Ashbury, you know, | 0:22:48 | 0:22:51 | |
it wouldn't be unlikely that if you were in the neighbourhood, | 0:22:51 | 0:22:55 | |
you'd just drop by and hang out with those guys | 0:22:55 | 0:22:57 | |
and smoke a joint or something like that. | 0:22:57 | 0:23:00 | |
# A sinning wretch like me... # | 0:23:00 | 0:23:03 | |
We were all, sort of, riding the same wave, in a sense. | 0:23:03 | 0:23:06 | |
All part of the same scene and all shared, in some ways, the same values | 0:23:06 | 0:23:10 | |
that we were part of this counterculture revolutionary music thing | 0:23:10 | 0:23:15 | |
that was going to, you know, change the world. | 0:23:15 | 0:23:17 | |
# Na-na-na-na Na-na-naaa, woo... # | 0:23:17 | 0:23:22 | |
She was just funny, unassuming, sexy, | 0:23:24 | 0:23:29 | |
and sort of a, a kind of like, | 0:23:29 | 0:23:32 | |
almost a sort of Huck Finn innocence to her. | 0:23:32 | 0:23:34 | |
The absolute child-woman ideal of The Haight. | 0:23:34 | 0:23:38 | |
Well, I met Janis as a romantic interest | 0:23:38 | 0:23:42 | |
for one of my bandmates, Pigpen, Ron McKernan. | 0:23:42 | 0:23:46 | |
We called him the Mighty Pig. | 0:23:46 | 0:23:48 | |
It was an on again, off again little affair that they had. | 0:23:48 | 0:23:52 | |
And on the nights that Janis would come over and visit, | 0:23:52 | 0:23:56 | |
I got very little sleep because Janis was not real quiet in the rack. | 0:23:56 | 0:24:02 | |
So, all night long, it would be, "Daddy, Daddy, Daddy!" | 0:24:02 | 0:24:05 | |
All that kind of stuff. I mean, endlessly. | 0:24:05 | 0:24:09 | |
"Isn't Pigpen cute? | 0:24:09 | 0:24:11 | |
"They make Pigpen T-shirts now with his picture on it for fans. | 0:24:11 | 0:24:14 | |
"I have one in red. | 0:24:14 | 0:24:16 | |
"Those people are all friends of mine, aren't they amazing? | 0:24:16 | 0:24:19 | |
"The people with stars after their names are members of the band. | 0:24:19 | 0:24:22 | |
"I'm in the back, on the left, really an amazing picture. | 0:24:22 | 0:24:26 | |
"They weren't dressed up, they looked that way all the time. | 0:24:26 | 0:24:29 | |
"Now, taken in perspective, I'm not so far out at all, eh?" | 0:24:29 | 0:24:32 | |
There was a party, there was a party in the city | 0:24:40 | 0:24:42 | |
in an apartment on California Street. | 0:24:42 | 0:24:47 | |
Someone opened this bottle of this stuff that is called Cold Duck. | 0:24:47 | 0:24:50 | |
-You don't see it around much. -Sparkling wine. -Sparkling wine. | 0:24:50 | 0:24:54 | |
And it started to go around the room and people were taking chugs of it | 0:24:54 | 0:24:57 | |
and Janis took a big swig of it and someone said to Janis, "Oh, man. | 0:24:57 | 0:25:01 | |
"You must really want to get high." | 0:25:01 | 0:25:03 | |
And she said, "What?!" | 0:25:03 | 0:25:05 | |
And someone said, "Yeah, there is, like, 68 hits of acid in that bottle." | 0:25:05 | 0:25:10 | |
Anyway, she ran into the bathroom and tried to throw up. | 0:25:10 | 0:25:14 | |
# They don't forget it Love is their whole... # | 0:25:14 | 0:25:20 | |
But she got very high anyway and we went from this party to The Fillmore. | 0:25:20 | 0:25:25 | |
# Have a little tenderness | 0:25:25 | 0:25:27 | |
# Yeah | 0:25:27 | 0:25:29 | |
# All you got to do is | 0:25:29 | 0:25:30 | |
# Everybody just has to | 0:25:30 | 0:25:32 | |
# Get on up, get on up | 0:25:32 | 0:25:34 | |
# Get on up, get on up | 0:25:34 | 0:25:35 | |
# Now get on up | 0:25:35 | 0:25:37 | |
# I got to... # | 0:25:37 | 0:25:39 | |
And Otis Redding was, I think, | 0:25:39 | 0:25:40 | |
in his second night and it was his second show. They did two shows. | 0:25:40 | 0:25:43 | |
So there weren't a lot of people there. | 0:25:43 | 0:25:45 | |
And I remember sitting with her. | 0:25:45 | 0:25:47 | |
We sat down in the middle of the floor | 0:25:47 | 0:25:50 | |
and Otis Redding came out with his band. | 0:25:50 | 0:25:53 | |
# Yeah, yeah, yeah, yeah | 0:25:53 | 0:25:55 | |
# You got to, got to, got to... # | 0:25:55 | 0:25:57 | |
I think when she saw him and saw the way he moved | 0:25:58 | 0:26:01 | |
and how he interpreted a song, I really think | 0:26:01 | 0:26:03 | |
it very much affected her. | 0:26:03 | 0:26:04 | |
I mean, literally, she'd start doing this, "Gotta, gotta, gotta," | 0:26:04 | 0:26:08 | |
she stole that. | 0:26:08 | 0:26:09 | |
# Got to, got to, got to | 0:26:09 | 0:26:12 | |
# Oh... # | 0:26:14 | 0:26:15 | |
Billie Holiday, Aretha Franklin, they are so subtle, | 0:26:15 | 0:26:19 | |
they can milk you with two notes. | 0:26:19 | 0:26:23 | |
They could go no further than from A to B | 0:26:23 | 0:26:26 | |
and they could make you feel like they've told you the whole universe. | 0:26:26 | 0:26:30 | |
You know? And Otis, oh, Otis. | 0:26:30 | 0:26:33 | |
My man. But, I mean, I don't know that yet. | 0:26:33 | 0:26:36 | |
All I've got now is strength but maybe if I keep singing, | 0:26:36 | 0:26:41 | |
maybe I'll get it. That's what I think. | 0:26:41 | 0:26:43 | |
In the very beginning, she didn't take over as, | 0:26:48 | 0:26:52 | |
"I'm the singer, I'm the lead singer." | 0:26:52 | 0:26:54 | |
She really tried to integrate into the band and be part of it. | 0:26:54 | 0:26:58 | |
The big turning point was Monterey Pop. | 0:26:58 | 0:27:01 | |
A very good friend of mine said, | 0:27:04 | 0:27:07 | |
"You've got to come to the Monterey Pop Festival. | 0:27:07 | 0:27:10 | |
"There's never been a pop festival." | 0:27:10 | 0:27:12 | |
You know you're going to have a great time - it's a weekend, | 0:27:14 | 0:27:17 | |
it's in Monterey, California. | 0:27:17 | 0:27:19 | |
Simon and Garfunkel were going to perform there. | 0:27:19 | 0:27:22 | |
That's all I knew about. | 0:27:22 | 0:27:23 | |
So I came there with my khaki pants and a tennis sweater. | 0:27:24 | 0:27:30 | |
And...I was astonished by everything that I saw. | 0:27:32 | 0:27:37 | |
I got a call from Lou Adler, who was the producer of Monterey Pop. | 0:27:38 | 0:27:42 | |
He was also the manager of the Mamas & the Papas. | 0:27:42 | 0:27:46 | |
He told me, "There's a whole new Monterey Pop Festival. | 0:27:46 | 0:27:49 | |
"Will Big Brother come?" | 0:27:49 | 0:27:51 | |
I saw the future. | 0:27:52 | 0:27:53 | |
They offered me a number and I went for it. | 0:28:05 | 0:28:07 | |
I didn't give a damn about the money. | 0:28:07 | 0:28:09 | |
I knew that this was going to be a monster. | 0:28:09 | 0:28:13 | |
So I vividly remember sitting in the grounds there, being | 0:28:18 | 0:28:22 | |
surrounded by this unusual crowd and then they announced the group. | 0:28:22 | 0:28:28 | |
Three or four years ago, | 0:28:28 | 0:28:30 | |
I ran into a chick in Texas by the name of Janis Joplin... | 0:28:30 | 0:28:35 | |
APPLAUSE | 0:28:35 | 0:28:38 | |
..and I heard her sing and Janis and I hitchhiked to the West Coast. | 0:28:38 | 0:28:41 | |
A lot of things have gone down since that time but it gives me | 0:28:42 | 0:28:46 | |
a great deal of pride to present, today, the finished product | 0:28:46 | 0:28:51 | |
of three or four years of work - Big Brother and The Holding Company. | 0:28:51 | 0:28:55 | |
CHEERING | 0:28:55 | 0:28:56 | |
# Knock you, rock you | 0:28:56 | 0:28:58 | |
# We're going to sock it to you now... # | 0:28:58 | 0:29:00 | |
Cass was sitting there in one of the rows | 0:29:00 | 0:29:03 | |
and I kind of had an eye on her during Janis | 0:29:03 | 0:29:06 | |
because they had been | 0:29:06 | 0:29:07 | |
a little critical because they were Los Angelenos. | 0:29:07 | 0:29:11 | |
And the Los Angelenos | 0:29:11 | 0:29:13 | |
were somewhat critical of the San Franciscans, | 0:29:13 | 0:29:16 | |
in terms of the bands. | 0:29:16 | 0:29:17 | |
And so I kind of wanted to watch her when Janis sang. | 0:29:17 | 0:29:21 | |
# Mmmm | 0:29:24 | 0:29:28 | |
# Sitting down by my window | 0:29:28 | 0:29:32 | |
# Just looking out at the rain | 0:29:32 | 0:29:37 | |
# Something came along | 0:29:44 | 0:29:46 | |
# Honey, grabbed a hold of me | 0:29:46 | 0:29:49 | |
# And it felt like a ball and chain... # | 0:29:49 | 0:29:53 | |
SHE SCREAMS # Last time | 0:29:55 | 0:29:56 | |
# And I say oh-whoa-whoa | 0:29:59 | 0:30:03 | |
# Honey, this can't be | 0:30:03 | 0:30:06 | |
# This can't be in vain | 0:30:06 | 0:30:11 | |
# No, no, no, no, no | 0:30:11 | 0:30:14 | |
# No, no | 0:30:14 | 0:30:15 | |
# And I say oh-whoa-whoa | 0:30:16 | 0:30:21 | |
# Honey, this can't be | 0:30:21 | 0:30:23 | |
# B-b-b-b-b-be, be, be, be | 0:30:23 | 0:30:26 | |
# In vain | 0:30:26 | 0:30:28 | |
# No, no No, no, no, no | 0:30:28 | 0:30:30 | |
# Oh | 0:30:32 | 0:30:33 | |
# And I want someone that can tell me | 0:30:33 | 0:30:37 | |
# Come on | 0:30:37 | 0:30:38 | |
# Tell me why | 0:30:38 | 0:30:40 | |
# Oh, tell me why | 0:30:40 | 0:30:42 | |
# Oh, people tell me why love | 0:30:42 | 0:30:44 | |
# Honey, why love is like | 0:30:44 | 0:30:47 | |
# Well, it's like a ball and | 0:30:47 | 0:30:51 | |
# And a chai-ai-ai-ai-ain. # | 0:30:51 | 0:30:58 | |
CHEERING | 0:30:59 | 0:31:02 | |
Once she caught real recognition at the Monterey Pop Festival, I think | 0:31:34 | 0:31:38 | |
she began to see what the possibilities were | 0:31:38 | 0:31:42 | |
and the possibilities were somewhat over-the-top. | 0:31:42 | 0:31:45 | |
"Dear Mother, at last a tranquil day and time to write all the good news. | 0:31:50 | 0:31:56 | |
"I'm now safely moved into my new room in our beautiful house | 0:31:56 | 0:31:59 | |
"in the country. | 0:31:59 | 0:32:01 | |
"Gosh, I can't seem to find anything else to talk about. | 0:32:01 | 0:32:04 | |
"This band is my whole life now. | 0:32:04 | 0:32:07 | |
"I really am totally committed and I dig it. | 0:32:07 | 0:32:10 | |
"I wanted to send you these clippings. | 0:32:10 | 0:32:12 | |
"Since Monterey, all this has come about. | 0:32:12 | 0:32:15 | |
"Did Port Arthur News have anything on these? If so, please send. | 0:32:15 | 0:32:19 | |
"I just may be a star some day. | 0:32:19 | 0:32:22 | |
"You know, it's funny, as it gets closer and more probable, being | 0:32:22 | 0:32:25 | |
"a star is really losing its meaning but whatever "it" means, I'm ready. | 0:32:25 | 0:32:30 | |
"Things are going so well for me personally. | 0:32:30 | 0:32:32 | |
"I have a boyfriend, he's head of Country Joe and the Fish, | 0:32:32 | 0:32:36 | |
"a band from Berkeley. | 0:32:36 | 0:32:37 | |
"He's a Capricorn like me and is 25 and, so far, | 0:32:37 | 0:32:41 | |
"we're getting along fine. | 0:32:41 | 0:32:42 | |
"Everyone in the rock scene just thinks it's the cutest thing | 0:32:42 | 0:32:45 | |
"they've ever seen and it is rather cute, actually." | 0:32:45 | 0:32:48 | |
We were never in love with each other. No. | 0:32:50 | 0:32:54 | |
No, there was no sizzle going on. | 0:32:55 | 0:32:58 | |
We were good friends. We were both control freaks, both lead singers. | 0:32:58 | 0:33:03 | |
There was a maternal, feminine side of her | 0:33:03 | 0:33:07 | |
that never was allowed to grow. | 0:33:07 | 0:33:10 | |
She was really trying hard, you know? | 0:33:10 | 0:33:13 | |
And her mother was coming to town. | 0:33:13 | 0:33:15 | |
She wanted to cook chow mein for her mother. | 0:33:15 | 0:33:17 | |
She was so worried that her mother would like her apartment and | 0:33:17 | 0:33:21 | |
Seidman had just made that poster of her naked with the necklaces. | 0:33:21 | 0:33:26 | |
We put them all up on the wall. | 0:33:26 | 0:33:27 | |
We went out to visit her, the summer of love, as a family. | 0:33:30 | 0:33:34 | |
My brother and I were the only teenagers | 0:33:34 | 0:33:36 | |
who probably went out with their parents. | 0:33:36 | 0:33:38 | |
We're going to see Janis, | 0:33:38 | 0:33:39 | |
we're walking down the street, she's showing us around. | 0:33:39 | 0:33:42 | |
I was so excited. | 0:33:42 | 0:33:44 | |
Then we went to The Avalon Ballroom | 0:33:44 | 0:33:46 | |
and Big Brother was not on the bill that night. | 0:33:46 | 0:33:50 | |
But they went on and did three or four songs. | 0:33:50 | 0:33:53 | |
Moby Grape let them have a set because Janis' parents were there. | 0:33:53 | 0:33:56 | |
When we were getting ready to leave, | 0:33:58 | 0:34:01 | |
I remember overhearing one of my parents tell the other one, | 0:34:01 | 0:34:05 | |
"You know, dear, I don't think we're going to have | 0:34:05 | 0:34:08 | |
"much influence any more." | 0:34:08 | 0:34:10 | |
I think that her own telling of her story was about the ability | 0:34:16 | 0:34:22 | |
to make your life fit your values. | 0:34:22 | 0:34:25 | |
And she found that opportunity in the music world of the 1960s. | 0:34:25 | 0:34:30 | |
The social acceptance that she'd always wanted was there | 0:34:35 | 0:34:39 | |
and it just propelled her forward. | 0:34:39 | 0:34:42 | |
# Come on, come on come on, come on, come on | 0:34:42 | 0:34:47 | |
# Didn't I make you feel | 0:34:47 | 0:34:50 | |
# Like you were the only one man? # | 0:34:50 | 0:34:55 | |
It felt so fresh and so different for someone who'd been an outcast. | 0:34:55 | 0:35:01 | |
# A woman possibly can? | 0:35:01 | 0:35:03 | |
# Honey, you know I did | 0:35:03 | 0:35:05 | |
# And each time I tell myself that I, well | 0:35:05 | 0:35:08 | |
# I think I've had enough | 0:35:08 | 0:35:10 | |
# I'm going to show you, baby that a woman can be tough | 0:35:10 | 0:35:15 | |
# I want you to come on, come on come on, come on | 0:35:15 | 0:35:21 | |
# And take it | 0:35:21 | 0:35:22 | |
# Take another little piece of my heart now, baby | 0:35:22 | 0:35:27 | |
# Break it | 0:35:27 | 0:35:28 | |
# Break another little bit of my heart | 0:35:28 | 0:35:31 | |
# Oh, yeah | 0:35:31 | 0:35:33 | |
# Have a | 0:35:33 | 0:35:34 | |
# Have another little piece of my heart now, baby | 0:35:34 | 0:35:38 | |
# You know you got it if it makes you feel good. # | 0:35:39 | 0:35:44 | |
You got another manager, Albert Grossman, | 0:35:45 | 0:35:48 | |
who also manages Bob Dylan. | 0:35:48 | 0:35:51 | |
Yeah. He's better. | 0:35:51 | 0:35:52 | |
"Dear Mother, as of yesterday afternoon, we are | 0:35:54 | 0:35:57 | |
"officially with Columbia. Wow, I'm so lucky. | 0:35:57 | 0:36:01 | |
"25, 25, 25, it's all too incredible. | 0:36:01 | 0:36:05 | |
"I just fumbled around being a mixed-up kid | 0:36:05 | 0:36:08 | |
"and then fell into this. | 0:36:08 | 0:36:09 | |
"Finally it looks like something is going to work for me. Incredible." | 0:36:09 | 0:36:13 | |
"February 20th, 1968. Dear Mother, our record is a success story | 0:36:22 | 0:36:27 | |
"in itself. | 0:36:27 | 0:36:28 | |
"We've got a gold album in three days. | 0:36:28 | 0:36:30 | |
"And the most fantastic thing of all happened at the Rose Bowl. | 0:36:30 | 0:36:34 | |
"The cops wouldn't let the kids off the grass near us and, | 0:36:34 | 0:36:36 | |
"all of a sudden, they broke, just like a wave, | 0:36:36 | 0:36:39 | |
"and swarmed onto the field. | 0:36:39 | 0:36:41 | |
"They were pulling on my clothes, my beads, | 0:36:41 | 0:36:43 | |
"calling, 'Janis, Janis, we love you.' " | 0:36:43 | 0:36:45 | |
# Have another little piece of my heart now, baby | 0:36:46 | 0:36:50 | |
# You know you got it if it makes you feel good. # | 0:36:52 | 0:36:56 | |
She had a sense that, as long as people gave her the stage, | 0:36:58 | 0:37:02 | |
she would be a winner. | 0:37:02 | 0:37:03 | |
CHEERING | 0:37:05 | 0:37:07 | |
Sit down, boys. Come on, boys. Let's sit down. | 0:37:12 | 0:37:16 | |
There we are, sitting down. | 0:37:16 | 0:37:18 | |
Fantastic. | 0:37:20 | 0:37:21 | |
Is there a San Francisco sound? And, if so, what is it | 0:37:22 | 0:37:26 | |
and how did it start? | 0:37:26 | 0:37:27 | |
The thing that makes what they call the San Francisco | 0:37:27 | 0:37:30 | |
music scene, as far as I'm concerned, | 0:37:30 | 0:37:32 | |
is, like, first of all, the freedom to create here. | 0:37:32 | 0:37:34 | |
You know, for some reason, like, a lot of musicians ended up here | 0:37:34 | 0:37:37 | |
and ended up together and were at complete freedom to do whatever | 0:37:37 | 0:37:40 | |
they wanted to until they came up with their own kind of music. | 0:37:40 | 0:37:43 | |
What do you think, Sam? | 0:37:43 | 0:37:45 | |
SHE CACKLES | 0:37:45 | 0:37:47 | |
That's what we call love music, baby. | 0:37:55 | 0:37:57 | |
# Had no chance to say I love you and I need you, baby. # | 0:37:59 | 0:38:05 | |
APPLAUSE | 0:38:05 | 0:38:06 | |
-Not bad. -LAUGHTER | 0:38:10 | 0:38:13 | |
Well, here we are, together again at last, by popular demand. | 0:38:13 | 0:38:15 | |
How are you? | 0:38:15 | 0:38:17 | |
'I don't know what it was, we sort of hit it off right away.' | 0:38:17 | 0:38:19 | |
Was she romantically attached to me? I would hope so. | 0:38:19 | 0:38:24 | |
May I light your fire, my child? | 0:38:24 | 0:38:25 | |
LAUGHTER | 0:38:25 | 0:38:27 | |
-I guess not. -Apparently not, no. | 0:38:28 | 0:38:30 | |
LAUGHTER | 0:38:30 | 0:38:32 | |
Well, I would have bet against it myself. | 0:38:32 | 0:38:34 | |
We were good friends and, I will level with you, we may or may not... | 0:38:34 | 0:38:39 | |
have ended up... | 0:38:39 | 0:38:41 | |
intimate. | 0:38:41 | 0:38:43 | |
I just, you know... My memory is so bad. | 0:38:44 | 0:38:47 | |
Or so good. | 0:38:49 | 0:38:51 | |
We lived in the Chelsea Hotel while we were making Cheap Thrills | 0:38:53 | 0:38:58 | |
and while we were touring | 0:38:58 | 0:38:59 | |
and we lived in Los Angeles. About half the time we were in | 0:38:59 | 0:39:02 | |
Hollywood and half the time we were at the Chelsea Hotel in Manhattan. | 0:39:02 | 0:39:06 | |
And it was just so much fun. You know, we would get together | 0:39:06 | 0:39:10 | |
and do heroin at these people's rooms. | 0:39:10 | 0:39:14 | |
And just kind of not nod off or go to sleep or something | 0:39:14 | 0:39:19 | |
but just have really nice, mellow conversations. | 0:39:19 | 0:39:23 | |
# If you believe in magic | 0:39:23 | 0:39:26 | |
# Don't be afraid | 0:39:26 | 0:39:28 | |
# Afraid to use it, baby | 0:39:28 | 0:39:29 | |
# No, no, no, no, no, no | 0:39:29 | 0:39:31 | |
# Come on home | 0:39:31 | 0:39:32 | |
# Dressed in mystic silk | 0:39:32 | 0:39:35 | |
# Or wearing rich rags and waste | 0:39:35 | 0:39:38 | |
# Darling, please come on back to me | 0:39:38 | 0:39:41 | |
# I know we can be | 0:39:41 | 0:39:43 | |
# Part of a magic race. # | 0:39:43 | 0:39:47 | |
She liked New York and it had that tombstone quality for her | 0:39:47 | 0:39:51 | |
so I was going to do a film with her because I really liked her a lot | 0:39:51 | 0:39:55 | |
and she was recording stuff with the band | 0:39:55 | 0:39:59 | |
and I would go and listen and film them. | 0:39:59 | 0:40:03 | |
SHE SCREAMS | 0:40:03 | 0:40:06 | |
I was interested mostly in how | 0:40:06 | 0:40:08 | |
she understood to control her singing because her singing | 0:40:08 | 0:40:13 | |
had this thing of when she'd lose it, | 0:40:13 | 0:40:16 | |
she would shout and scream. | 0:40:16 | 0:40:18 | |
And sometimes that was very effective but it couldn't be... | 0:40:18 | 0:40:23 | |
the music had to have something more to it than that. | 0:40:23 | 0:40:27 | |
SHE SCREAMS | 0:40:27 | 0:40:29 | |
I think it's a real good... | 0:40:34 | 0:40:37 | |
-Let's do Summertime. -OK, let's go. | 0:40:39 | 0:40:42 | |
Over to you. | 0:40:42 | 0:40:43 | |
THEY PLAY "SUMMERTIME" | 0:40:43 | 0:40:46 | |
She goes... | 0:40:58 | 0:40:59 | |
# Na-na-na-na-na-na-na-na | 0:40:59 | 0:41:01 | |
# Don't you cry... # | 0:41:01 | 0:41:02 | |
# No, no, no, no, no, no No, no, no, no | 0:41:02 | 0:41:05 | |
# Don't you cry. # | 0:41:05 | 0:41:07 | |
-..at the very end of the song. -In the song, last chord of the song. | 0:41:07 | 0:41:09 | |
The first G major arpeggio, I think, is wrong. When she says "cry". | 0:41:09 | 0:41:14 | |
-What you want? Six arpeggios of G minor? -G minor. | 0:41:14 | 0:41:17 | |
Because it changes to G minor for two after that. | 0:41:17 | 0:41:19 | |
It's already in the major, he's trying to get it in the minor. | 0:41:19 | 0:41:22 | |
-Why don't you do four G minors? -THEY TALK OVER EACH OTHER | 0:41:22 | 0:41:25 | |
We can do it either way. | 0:41:25 | 0:41:27 | |
I mean, they're both valid approaches | 0:41:27 | 0:41:29 | |
but I think... It's ten o'clock. | 0:41:29 | 0:41:31 | |
I think, by four, we could have Summertime. | 0:41:31 | 0:41:34 | |
Let's say we'll be done by 12 o'clock, 1 o'clock, | 0:41:34 | 0:41:36 | |
and we can spend a few hours doing something else. | 0:41:36 | 0:41:39 | |
If you all voted to do a bunch of them tonight, that's OK with me | 0:41:39 | 0:41:42 | |
but I personally don't agree with it. | 0:41:42 | 0:41:44 | |
Playing it and listening to it back | 0:41:44 | 0:41:46 | |
ain't going to teach us a damn thing. | 0:41:46 | 0:41:47 | |
I know exactly what that song sounds like and I've racked my brain | 0:41:47 | 0:41:50 | |
to try and get ideas for it, as I'm sure everybody else has. | 0:41:50 | 0:41:53 | |
...G major and G minor when you sing, "Don't you cry." | 0:41:53 | 0:41:55 | |
How do you know what it...? Turn that thing off. | 0:41:55 | 0:41:57 | |
OK, all right. | 0:41:57 | 0:41:59 | |
Don't go away. | 0:41:59 | 0:42:01 | |
MUSIC: Summertime | 0:42:01 | 0:42:04 | |
# Oh, one | 0:42:37 | 0:42:42 | |
# Of these mornings | 0:42:42 | 0:42:44 | |
# Child, you'll rise up singing, babe | 0:42:44 | 0:42:52 | |
# I said you're going to go | 0:42:54 | 0:42:56 | |
# Honey, going to sprea-ea-ead your wings | 0:42:56 | 0:43:00 | |
# Honey, take | 0:43:01 | 0:43:03 | |
# Take to the sky-y | 0:43:03 | 0:43:07 | |
# Lord, the sky | 0:43:08 | 0:43:11 | |
# But till that morning | 0:43:11 | 0:43:18 | |
# Honey, n-no nothing's gonna harm you, babe | 0:43:18 | 0:43:25 | |
# I said, honey nothing's ever gonna let you down | 0:43:25 | 0:43:28 | |
# Oh, it just wouldn't do it | 0:43:28 | 0:43:30 | |
# Hush | 0:43:30 | 0:43:31 | |
# Baby, baby, baby, baby | 0:43:31 | 0:43:33 | |
# Baby, baby, baby | 0:43:33 | 0:43:35 | |
# No, no, no, no, no, no don't you cry | 0:43:36 | 0:43:39 | |
# No. # | 0:43:48 | 0:43:52 | |
APPLAUSE | 0:43:53 | 0:43:55 | |
"Dear Family, lots of trouble in the band. | 0:43:58 | 0:44:01 | |
"Most of them revolving around the fact that I think I'm hot shit, | 0:44:01 | 0:44:04 | |
"as I'm told by everyone from Albert down, and the band is sloppy." | 0:44:04 | 0:44:08 | |
When she came into the band, Peter was the leader of the band, | 0:44:08 | 0:44:11 | |
the bass player. | 0:44:11 | 0:44:13 | |
And James was the mythic, iconic, you know, beautiful figure. | 0:44:13 | 0:44:17 | |
He represented the band. | 0:44:17 | 0:44:19 | |
And then here comes Janis and when she joined the band, | 0:44:21 | 0:44:24 | |
she became both of those things. | 0:44:24 | 0:44:26 | |
They had a very complicated reaction to her fame. | 0:44:26 | 0:44:29 | |
There was a cadre of hangers-on | 0:44:35 | 0:44:37 | |
that sort of insulated her from her band, from what I could see. | 0:44:37 | 0:44:41 | |
And it was just a matter of time | 0:44:41 | 0:44:43 | |
until somebody tried to polish her up and make a big star out of her. | 0:44:43 | 0:44:48 | |
It's crazy now to think back | 0:44:48 | 0:44:50 | |
that we signed our management agreement with the guy. | 0:44:50 | 0:44:53 | |
But I think from the very get-go, there was a sense that he was | 0:44:53 | 0:44:57 | |
not a big fan of ours, that he really was into Janis. | 0:44:57 | 0:45:01 | |
But we wanted to believe that he would work for the whole band. | 0:45:01 | 0:45:06 | |
And the guys in the band were powerless. | 0:45:06 | 0:45:09 | |
No-one had the ability to stop that from happening. | 0:45:09 | 0:45:12 | |
She was a singularity and she attracted that kind of attention. | 0:45:12 | 0:45:16 | |
She cared about Big Brother's career, she loved those guys, | 0:45:18 | 0:45:22 | |
but there was something that she saw that was beyond that. | 0:45:22 | 0:45:27 | |
And if she didn't do it, she'd never know if she could. | 0:45:27 | 0:45:30 | |
"Dear Family, so we're back in California for two more weeks. | 0:45:32 | 0:45:36 | |
"After that begins my hardest task. | 0:45:36 | 0:45:39 | |
"I told you, remember, that I was leaving Big Brother | 0:45:39 | 0:45:42 | |
"and going to do a thing on my own. | 0:45:42 | 0:45:44 | |
"There'll be a whole lot of pressure cos of the vibes | 0:45:44 | 0:45:46 | |
"created by my leaving Big Brother, and also, at just how big I am now." | 0:45:46 | 0:45:51 | |
Nobody ever saw her wearing those kind of clothes, | 0:45:56 | 0:45:58 | |
but that's the kind of clothes she had when she came from Texas. | 0:45:58 | 0:46:02 | |
If someone said, you know, "What did you learn from Janis? | 0:46:02 | 0:46:04 | |
"What did she teach you?" | 0:46:04 | 0:46:05 | |
If I had to say it in a sentence, it's emotional honesty, | 0:46:05 | 0:46:09 | |
and the price of not emotional honesty. | 0:46:09 | 0:46:11 | |
She started to lose that. | 0:46:13 | 0:46:15 | |
She started to become something that people expected of her. | 0:46:15 | 0:46:18 | |
She started to become a caricature of what she was, | 0:46:18 | 0:46:21 | |
and play it for people, you know? | 0:46:21 | 0:46:24 | |
And I think that hurt her in some way. | 0:46:24 | 0:46:27 | |
"Take this lonely heart from one lonely girl. | 0:46:28 | 0:46:31 | |
"Reaching too high, babe, can't help from getting burned." | 0:46:31 | 0:46:35 | |
Everything she ever wrote, pretty much, is autobiographical, | 0:46:35 | 0:46:39 | |
and I thought the "Reaching too high, babe", too, was right... | 0:46:39 | 0:46:42 | |
This was done right at the time when she's leaving Big Brother. | 0:46:42 | 0:46:45 | |
She knows she's kind of going to go for some higher level of fame | 0:46:46 | 0:46:51 | |
and stardom and, you know, and she might fall on her face. | 0:46:51 | 0:46:54 | |
She knew that it might not work out, she might get burned. | 0:46:54 | 0:46:57 | |
The fallout for James and Peter and David was significant, | 0:47:06 | 0:47:12 | |
because Janis asked Sam to come with her to her new band. | 0:47:12 | 0:47:15 | |
I loved Jan, I loved her all the way through, you know. | 0:47:18 | 0:47:21 | |
The first time I ever saw her, you know, | 0:47:21 | 0:47:24 | |
she just had this attitude that I liked. | 0:47:24 | 0:47:26 | |
It wasn't belligerent but it was non-compromising. | 0:47:26 | 0:47:30 | |
MUSIC: Maybe by Janis Joplin | 0:47:32 | 0:47:33 | |
She's loud, she's... You know, one of these loud Texas women. | 0:47:35 | 0:47:39 | |
She was real smart and...considerate most of the time. | 0:47:39 | 0:47:43 | |
We both had real quick tempers. | 0:47:43 | 0:47:46 | |
# Ma-a-a-a-aybe | 0:47:50 | 0:47:52 | |
# Oh, if I could pray | 0:47:54 | 0:47:56 | |
# And I try, dear | 0:47:56 | 0:47:58 | |
# You might come back home | 0:47:58 | 0:48:00 | |
# Home to me... # | 0:48:00 | 0:48:02 | |
They called me up to play with Janis, | 0:48:02 | 0:48:05 | |
so they sent me a ticket and I went to New York. | 0:48:05 | 0:48:08 | |
I went there, opened the door, and this girl had on a bra | 0:48:09 | 0:48:14 | |
and some panties and said, "Hi, I'm Janis." | 0:48:14 | 0:48:17 | |
I said, "Hi, I'm in the right place." | 0:48:17 | 0:48:19 | |
HE CHUCKLES | 0:48:19 | 0:48:21 | |
# Maybe... | 0:48:21 | 0:48:24 | |
# Maybe, maybe, maybe... # | 0:48:24 | 0:48:26 | |
When she started singing, I said, "Damn! | 0:48:26 | 0:48:29 | |
"Are you sure she white?!" | 0:48:29 | 0:48:31 | |
Now, you quit Big Brother and The Holding Company. | 0:48:35 | 0:48:37 | |
Why did you do that? | 0:48:37 | 0:48:39 | |
Well, just because, uh... | 0:48:39 | 0:48:42 | |
It was sort of just time for us to, I think, | 0:48:43 | 0:48:45 | |
-to go on and do something else, you know what I mean? -Mm-hm. | 0:48:45 | 0:48:48 | |
Like, you grow together, you know, a certain way | 0:48:48 | 0:48:52 | |
and you sort of exhaust each other. | 0:48:52 | 0:48:55 | |
You exhaust the good that you can do for each other, | 0:48:55 | 0:48:57 | |
and it was just time for each of us to start growing from... | 0:48:57 | 0:49:00 | |
In other directions, do you know what I mean? | 0:49:00 | 0:49:03 | |
'I think you really grow as a musician, | 0:49:04 | 0:49:06 | |
'and that's what we're, after all, we're supposed to be all about. | 0:49:06 | 0:49:09 | |
'Just trying to get better at what we do, you know?' | 0:49:09 | 0:49:12 | |
San Francisco was the first place, the first community, | 0:49:16 | 0:49:20 | |
where Janis really felt at home. | 0:49:20 | 0:49:23 | |
When she left Big Brother, she lost it. | 0:49:23 | 0:49:25 | |
The pressure to succeed was huge, | 0:49:58 | 0:50:00 | |
and she was carrying around this weight. | 0:50:00 | 0:50:03 | |
You know, she didn't know how to lead a band, | 0:50:11 | 0:50:13 | |
that's one of the reasons it was a mistake, you know. | 0:50:13 | 0:50:15 | |
She didn't know how to lead the band, and she was in charge, | 0:50:15 | 0:50:18 | |
so she had people putting together that band for her, | 0:50:18 | 0:50:22 | |
along with a lot of other strange people | 0:50:22 | 0:50:25 | |
who were appointed band directors, you know. | 0:50:25 | 0:50:28 | |
It wasn't working. | 0:50:28 | 0:50:30 | |
There were changes in personnel, and none of it solved anything. | 0:50:32 | 0:50:37 | |
We went to Europe only, like, two months into touring. | 0:50:37 | 0:50:42 | |
She's there with a new band which doesn't know what the hell | 0:50:42 | 0:50:45 | |
it's supposed to be. | 0:50:45 | 0:50:46 | |
-JANIS JOPLIN: -OK, you guys. | 0:50:46 | 0:50:48 | |
COUGHING AND CLAPPING IN AUDIENCE | 0:50:48 | 0:50:50 | |
# Oh... # | 0:50:50 | 0:50:51 | |
You know what? | 0:50:51 | 0:50:53 | |
No. I'm... I'm making a problem. | 0:50:53 | 0:50:55 | |
We played in Frankfurt and Janis was freaking out. | 0:50:57 | 0:51:02 | |
We peeped out the curtain and all of these dudes were sitting there | 0:51:02 | 0:51:06 | |
with their little haircuts, like you put a bowl on their head | 0:51:06 | 0:51:10 | |
and cut around the bowl. | 0:51:10 | 0:51:11 | |
-JANIS JOPLIN: -Is everybody ready?! | 0:51:13 | 0:51:14 | |
But we felt like playing. | 0:51:14 | 0:51:15 | |
We said, "Hey, man, we play the show. | 0:51:15 | 0:51:18 | |
"If y'all want to boogie, come on up here with us and boogie." | 0:51:18 | 0:51:22 | |
MUSIC: Raise Your Hand by Janis Joplin | 0:51:22 | 0:51:23 | |
# If there's something you need | 0:51:29 | 0:51:31 | |
# Hon, that you've never ever, ever had | 0:51:32 | 0:51:34 | |
# I know you never had it | 0:51:34 | 0:51:36 | |
# Oh, honey don't you just sit there crying | 0:51:36 | 0:51:39 | |
# Don't just there feeling bad | 0:51:39 | 0:51:41 | |
# No, no, no | 0:51:41 | 0:51:42 | |
# You'd better get up | 0:51:42 | 0:51:44 | |
# Now, don't you understand? | 0:51:44 | 0:51:46 | |
# And raise your hand | 0:51:46 | 0:51:48 | |
# Hey, hey | 0:51:48 | 0:51:49 | |
# I said r-a-a-a-a-aise your hand | 0:51:49 | 0:51:51 | |
# Right here, right now! Ay! | 0:51:51 | 0:51:53 | |
# WOW-OW-OW-OW! | 0:51:59 | 0:52:01 | |
# Wow-whoa, yeah. # | 0:52:01 | 0:52:03 | |
SONG CONTINUES | 0:52:14 | 0:52:15 | |
I'm nobody, I'm just a fan! | 0:52:20 | 0:52:22 | |
No, I just... I'm just a fan! | 0:52:22 | 0:52:24 | |
Cos, like, I'm crazy about her! | 0:52:24 | 0:52:25 | |
-GERMAN REPORTER: -Where from you are, friend? | 0:52:25 | 0:52:28 | |
-I can't talk if you're taking pictures of me! -Why not? | 0:52:28 | 0:52:30 | |
Because I'm not groovy, she's groovy, look at her! | 0:52:30 | 0:52:33 | |
FEMALE FAN GIGGLES | 0:52:33 | 0:52:34 | |
# Come on... # | 0:52:35 | 0:52:36 | |
I guess, because we're strangers in foreign lands, | 0:52:38 | 0:52:42 | |
the Kozmic Blues Band came together. | 0:52:42 | 0:52:44 | |
The Albert Hall in London was the last concert, | 0:52:47 | 0:52:50 | |
and Janis knew that Bob Dylan had sold out, and she was really | 0:52:50 | 0:52:55 | |
excited about playing the Albert Hall, and she did sell out. | 0:52:55 | 0:52:59 | |
She got people dancing in the aisles at the Albert Hall, | 0:52:59 | 0:53:02 | |
and she was just ecstatic after. | 0:53:02 | 0:53:04 | |
-JANIS JOPLIN: -Oh, excited! | 0:53:04 | 0:53:06 | |
JANIS SQUEALS | 0:53:06 | 0:53:07 | |
Nobody ever, nobody, anybody ever thought it would be that good! | 0:53:07 | 0:53:10 | |
Nobody's ever fucking got up yet, no-one's gotten to dance | 0:53:10 | 0:53:13 | |
and dug it, no-one's ever done anything there, and they did it! | 0:53:13 | 0:53:16 | |
Man, they fucking got up and grooved, and then they listened! | 0:53:16 | 0:53:20 | |
God, I'm so happy! Whoo-hoo! | 0:53:20 | 0:53:24 | |
CHEERING | 0:53:31 | 0:53:32 | |
When Janis was onstage and things were going well, | 0:53:35 | 0:53:38 | |
all was right with the world. | 0:53:38 | 0:53:39 | |
But after that hour, you've got to come offstage. | 0:53:42 | 0:53:45 | |
FAINT CHEERING | 0:53:51 | 0:53:53 | |
She used to say that it was like making love, | 0:53:53 | 0:53:56 | |
being on the stage, you know. But it's an illusion. | 0:53:56 | 0:54:00 | |
When the show's over, | 0:54:00 | 0:54:01 | |
the audience leaves...and you're left with yourself. | 0:54:01 | 0:54:05 | |
CHEERING INTENSIFIES | 0:54:06 | 0:54:07 | |
CHEERING FADES OUT | 0:54:09 | 0:54:11 | |
She rarely was using heroin before a concert, because it wasn't | 0:54:16 | 0:54:22 | |
the right kind of energy for onstage and she cared about that. | 0:54:22 | 0:54:26 | |
But her after-the-concert fix was a real regular thing. | 0:54:26 | 0:54:30 | |
We were devolving into this drug use that was way out of hand. | 0:54:32 | 0:54:37 | |
I have to, you know, digress for a second and say, | 0:54:37 | 0:54:40 | |
when Janis was in Big Brother, Peter didn't do any drugs, you know, | 0:54:40 | 0:54:44 | |
so out of respect to him, we kept it toned down a lot, you know. | 0:54:44 | 0:54:48 | |
So now she's in Kozmic Blues, so we're doing, really, | 0:54:50 | 0:54:53 | |
a lot of drugs, you know, because Peter's not... | 0:54:53 | 0:54:55 | |
Daddy isn't there any more, you know. | 0:54:55 | 0:54:57 | |
We're free and we can do all these drugs now. | 0:54:57 | 0:54:59 | |
So, it really got out of hand, you know, | 0:55:02 | 0:55:04 | |
in Los Angeles, in particular, the Landmark Hotel. | 0:55:04 | 0:55:07 | |
She called me to her room and she said, | 0:55:07 | 0:55:10 | |
"Your services are no longer needed." | 0:55:10 | 0:55:13 | |
And so then we shot up some heroin and she said, | 0:55:13 | 0:55:15 | |
"Well, aren't you going to ask me why?!" | 0:55:15 | 0:55:18 | |
I said, "What difference does it make?" | 0:55:18 | 0:55:22 | |
It was just like a marriage and I'd run out of juice and... | 0:55:22 | 0:55:25 | |
..a lot of our friends were dying that year. | 0:55:27 | 0:55:30 | |
She's lying on a motel bed and she says, | 0:55:30 | 0:55:32 | |
"It's not going to happen to me." | 0:55:32 | 0:55:34 | |
She said, "My people are pioneer stock | 0:55:34 | 0:55:37 | |
"and they came across the country and they came to Texas. | 0:55:37 | 0:55:39 | |
"They're tough. | 0:55:39 | 0:55:41 | |
"I've got those genes and nothing's going to happen to me", | 0:55:41 | 0:55:44 | |
which made me... "Shit, I wish you wouldn't have said that!" | 0:55:44 | 0:55:46 | |
HE CHUCKLES | 0:55:46 | 0:55:48 | |
You know. | 0:55:48 | 0:55:50 | |
# Trust in me, baby | 0:55:50 | 0:55:53 | |
# Give me time, give me time, hm-mm | 0:55:53 | 0:55:57 | |
# Give me time | 0:55:57 | 0:55:58 | |
# Oh, my love is like a seed, baby | 0:56:00 | 0:56:04 | |
# Just needs time to grow | 0:56:05 | 0:56:09 | |
# It's growing stronger day by day, yeah | 0:56:11 | 0:56:14 | |
# Make anybody want to sacrifice | 0:56:14 | 0:56:18 | |
# My love is like a seed, baby | 0:56:21 | 0:56:26 | |
# Trust in me, baby | 0:56:26 | 0:56:28 | |
# Trust in me, baby | 0:56:28 | 0:56:30 | |
# Trust in my love | 0:56:30 | 0:56:32 | |
# In my heart | 0:56:32 | 0:56:34 | |
# Keep the faith, baby | 0:56:35 | 0:56:38 | |
# Keep the faith in me, dear. # | 0:56:38 | 0:56:40 | |
We had heard about Woodstock from pretty well in advance, | 0:56:40 | 0:56:43 | |
and we thought, "Oh, great, it's the next Monterey." | 0:56:43 | 0:56:46 | |
It's a very warm summer day... | 0:56:47 | 0:56:49 | |
..and all this variety of choppers are taking off and landing. | 0:56:50 | 0:56:54 | |
I do remember that Peggy was on the airlift zone where we took off from. | 0:56:56 | 0:57:02 | |
I was always apprehensive when Peggy was around because I felt | 0:57:04 | 0:57:08 | |
she would be an enabler rather than a helper with the drug problem. | 0:57:08 | 0:57:12 | |
She called and said, "You have to come." I said, "I can't." | 0:57:17 | 0:57:22 | |
Because we were hearing reports that the turnpike was bogged down | 0:57:22 | 0:57:26 | |
and people were out of gas and having babies and, you know, | 0:57:26 | 0:57:30 | |
it was like locusts coming through, you know. | 0:57:30 | 0:57:32 | |
I said the only way I'd come out there was | 0:57:32 | 0:57:35 | |
if I was airlifted in and she said, "OK." | 0:57:35 | 0:57:38 | |
We were both around the same age in the South | 0:57:57 | 0:58:02 | |
with middle class families. | 0:58:02 | 0:58:04 | |
But I think Janis had a harder time of coming through. | 0:58:04 | 0:58:09 | |
But on the other hand, you know, people tend to think, | 0:58:09 | 0:58:12 | |
because of that, that she was depressed. She wasn't. | 0:58:12 | 0:58:16 | |
It was all fun. | 0:58:16 | 0:58:20 | |
We shot heroin for fun. And it took the edge off. | 0:58:20 | 0:58:24 | |
We were in the midst of one of the most social phenomenons in history. | 0:58:24 | 0:58:29 | |
What I understand is she got very high shooting up in the Porta-San | 0:58:33 | 0:58:38 | |
and couldn't go on. | 0:58:38 | 0:58:40 | |
Finally, Peggy and John Cooke had to push her on stage. | 0:58:42 | 0:58:45 | |
CHEERING AND APPLAUSE | 0:58:47 | 0:58:49 | |
How are y'all? I mean... Erm... How are you out there? Are you OK? | 0:58:56 | 0:59:01 | |
CROWD WHOOPS AND CHEERS | 0:59:01 | 0:59:03 | |
You're not... | 0:59:03 | 0:59:06 | |
You're staying stoned and you've got enough water | 0:59:06 | 0:59:08 | |
and you've got a place to sleep and everything? | 0:59:08 | 0:59:11 | |
CHEERING | 0:59:11 | 0:59:13 | |
Because, you know, because we oughta, all of us... | 0:59:13 | 0:59:18 | |
I don't mean to be preachy but we oughta remember, | 0:59:18 | 0:59:21 | |
and that means promoters too, that music's for grooving, man. | 0:59:21 | 0:59:25 | |
Music's not for putting yourself through bad changes. | 0:59:25 | 0:59:27 | |
You know, you don't have to go take anybody's shit, man, | 0:59:27 | 0:59:30 | |
just to like music. You know what I mean? You don't. | 0:59:30 | 0:59:34 | |
So if you're getting more shit than you deserve, | 0:59:34 | 0:59:36 | |
you know what to do about it, man. | 0:59:36 | 0:59:38 | |
# Work me, Lord | 0:59:43 | 0:59:47 | |
# Work me, Lord | 0:59:51 | 0:59:55 | |
# Please don't you leave me | 0:59:55 | 0:59:58 | |
# I feel so useless down here | 1:00:00 | 1:00:03 | |
# With no-one to love | 1:00:03 | 1:00:07 | |
# Though I've looked everywhere | 1:00:07 | 1:00:11 | |
# And I can't find me anybody to love | 1:00:11 | 1:00:15 | |
# To feel my care | 1:00:15 | 1:00:17 | |
# So-whoa | 1:00:17 | 1:00:23 | |
# Work me, Lord | 1:00:23 | 1:00:26 | |
# Whoa | 1:00:26 | 1:00:29 | |
# Oh, use me, Lord... # | 1:00:29 | 1:00:33 | |
Do you ever have a whole night when you just stand up there | 1:00:33 | 1:00:35 | |
and you feel you're not making it? | 1:00:35 | 1:00:37 | |
Well, yeah, but you're kind of trying... | 1:00:37 | 1:00:40 | |
You have little games that you play with yourself to turn yourself on. | 1:00:40 | 1:00:43 | |
-Mm. -You can usually get yourself going. | 1:00:43 | 1:00:45 | |
You've never had a desire to just leave the stage and say, "I'm sorry. | 1:00:45 | 1:00:48 | |
"It isn't working tonight, folks." | 1:00:48 | 1:00:51 | |
It's the best thing that ever happened to me. I wouldn't leave. | 1:00:51 | 1:00:55 | |
Yeah. Yeah. If you couldn't do it any more you'd be miserable, huh? | 1:00:55 | 1:00:59 | |
Yeah. I hope that by that time I'll have something else that's groovy. | 1:00:59 | 1:01:04 | |
# Whoa | 1:01:04 | 1:01:06 | |
# Whoa-yeah | 1:01:06 | 1:01:08 | |
# Who-o-o-oa-ah | 1:01:10 | 1:01:15 | |
# Please | 1:01:15 | 1:01:17 | |
# Oh, daddy no, no, no, no, no... # VOICE BREAKS | 1:01:17 | 1:01:19 | |
# Plea-... Ah | 1:01:19 | 1:01:21 | |
# Ah no, no, no Don't you go and leave me | 1:01:21 | 1:01:24 | |
# Honey, when I reach out I wanna | 1:01:24 | 1:01:26 | |
# I said I wanna hold on to you | 1:01:26 | 1:01:30 | |
# Well, you're never there | 1:01:30 | 1:01:33 | |
# It doesn't turn me off again | 1:01:33 | 1:01:35 | |
# I still reach out to hold on to my man | 1:01:35 | 1:01:39 | |
# I said daddy, daddy, daddy, daddy daddy, daddy, daddy | 1:01:39 | 1:01:43 | |
# Don't you go | 1:01:43 | 1:01:45 | |
# No, no, no, no, no, no, no, no | 1:01:45 | 1:01:49 | |
# Honey, don't you go and le-e-eave me | 1:01:49 | 1:01:55 | |
# Say, my Lord. # | 1:01:55 | 1:02:00 | |
CHEERING DISTORTS | 1:02:03 | 1:02:07 | |
This is the dark time in my time with Janis. | 1:02:46 | 1:02:49 | |
Albert and Janis reached a point where they said, | 1:02:49 | 1:02:52 | |
"Well, we're going to let the Kozmic Blues Band dissipate." | 1:02:52 | 1:02:57 | |
Janis took that failure on herself. | 1:03:01 | 1:03:04 | |
She felt that she was failing and this was, as a result, | 1:03:04 | 1:03:07 | |
by far their worst abuse of heroin and alcohol. | 1:03:07 | 1:03:11 | |
Well, this whole thing that's happened to me, | 1:03:18 | 1:03:21 | |
you see, this whole success thing... Erm... | 1:03:21 | 1:03:25 | |
It hasn't yet really compromised the position | 1:03:25 | 1:03:29 | |
I took a long time ago in Texas that was to be true to myself, | 1:03:29 | 1:03:32 | |
to be the person that was inside of me and not play games. | 1:03:32 | 1:03:37 | |
That's what I'm trying to do mostly in the whole world, | 1:03:37 | 1:03:40 | |
is to not bullshit myself. | 1:03:40 | 1:03:42 | |
What do you think when you're singing? | 1:03:43 | 1:03:45 | |
Do you actually think what's going on in the song | 1:03:45 | 1:03:48 | |
or can your mind be somewhere else? | 1:03:48 | 1:03:50 | |
-I'm not really thinking much. You're just sort of trying to feel. -Yeah. | 1:03:50 | 1:03:54 | |
The last I heard of you, you were in the jungles of Brazil. | 1:03:56 | 1:04:00 | |
I went to Rio for Carnival | 1:04:00 | 1:04:02 | |
and then I decided to hitchhike around the northern part of Brazil. | 1:04:02 | 1:04:06 | |
-As a kind of vacation? -Just like a regular old beatnik on the road. | 1:04:06 | 1:04:11 | |
I knew I was going to try to make it to Rio for Carnival | 1:04:18 | 1:04:20 | |
cos I was meeting a friend of mine | 1:04:20 | 1:04:22 | |
so I got to Rio a couple of days early and I thought, | 1:04:22 | 1:04:26 | |
"God. There's Ipanema beach, you know. | 1:04:26 | 1:04:28 | |
"God, the girl from Ipanema," you know. | 1:04:28 | 1:04:31 | |
So I went over to Ipanema beach | 1:04:31 | 1:04:33 | |
and the very first person I ran into on the beach was Janis. | 1:04:33 | 1:04:37 | |
I didn't know it was Janis, I just saw this girl with a bikini on. | 1:04:37 | 1:04:41 | |
# Don't you understand me, baby | 1:04:43 | 1:04:47 | |
# Why I need a man to love... # | 1:04:47 | 1:04:55 | |
She looked up. I remember lifting her sunglasses up and saying, | 1:04:55 | 1:04:58 | |
"Hiya, cute thing." And I went, "Wow. Hiya, cute thing." | 1:04:58 | 1:05:04 | |
I'd been in the jungle a long time! | 1:05:04 | 1:05:06 | |
# This loneliness | 1:05:06 | 1:05:08 | |
# Baby, surrounding me | 1:05:08 | 1:05:11 | |
-# No, no, no, it just can't be -# No, it just can't be | 1:05:11 | 1:05:16 | |
# There's got to be some kind of answer | 1:05:16 | 1:05:18 | |
# No, it just can't be... # | 1:05:18 | 1:05:21 | |
When we went back to the hotel the first night, | 1:05:23 | 1:05:25 | |
she wasn't sleeping well, she was rolling around, | 1:05:25 | 1:05:28 | |
she was unhappy, she was having cold sweats | 1:05:28 | 1:05:31 | |
and she told me that she was trying to kick the habit | 1:05:31 | 1:05:34 | |
so I held her for two-and-a-half days while she came down. | 1:05:34 | 1:05:37 | |
She was really a different person. | 1:05:41 | 1:05:43 | |
She was much more calm, she was much more beautiful, I mean... | 1:05:43 | 1:05:48 | |
And she wasn't used to being straight | 1:05:48 | 1:05:50 | |
so she knew she was more beautiful and then after that it was clear - | 1:05:50 | 1:05:54 | |
she couldn't have gotten higher than when we travelled around Brazil. | 1:05:54 | 1:05:59 | |
She was so free and so different than any other girl I'd ever met. | 1:05:59 | 1:06:03 | |
I'd never had a woman inspire me before. | 1:06:05 | 1:06:08 | |
So it stopped me in my tracks, so to speak. | 1:06:08 | 1:06:10 | |
I was heading for North Africa and when I met her I realised, | 1:06:10 | 1:06:14 | |
"Shit, I'm not going anywhere." | 1:06:14 | 1:06:17 | |
When we came back to California, we spent time together, | 1:06:18 | 1:06:23 | |
just the two of us. | 1:06:23 | 1:06:25 | |
I mean, we did come to the park here and we did go to the Haight, | 1:06:25 | 1:06:28 | |
but basically we just pretty much hung together. | 1:06:28 | 1:06:30 | |
We were inseparable, really, for those months. | 1:06:30 | 1:06:33 | |
As my relationship with Janis grew, | 1:06:36 | 1:06:38 | |
I realised when she sang me these songs, they were always the blues | 1:06:38 | 1:06:43 | |
and that's what she felt, basically, were the blues. | 1:06:43 | 1:06:46 | |
She could feel everybody's pain. | 1:06:46 | 1:06:48 | |
That's one of the reasons she did heroin, | 1:06:48 | 1:06:51 | |
was so she didn't have to be involved with everybody else's life. | 1:06:51 | 1:06:55 | |
Most people can be oblivious to what's going on around them. | 1:06:55 | 1:06:57 | |
Janis couldn't. She couldn't block it out. | 1:06:57 | 1:07:02 | |
But she was addicted to it, you know. | 1:07:02 | 1:07:04 | |
And I got her to stop and then when I would go away, | 1:07:04 | 1:07:06 | |
she'd get weak, I guess, is one way to say it, and start it again. | 1:07:06 | 1:07:10 | |
I told her I can't do that part. | 1:07:11 | 1:07:13 | |
I can't put up with that cos it's killing you. | 1:07:13 | 1:07:16 | |
And it broke my heart to see it. | 1:07:16 | 1:07:17 | |
Really what it is, it broke my heart, more than anything. | 1:07:17 | 1:07:20 | |
When I said I was leaving, she said, | 1:07:20 | 1:07:22 | |
"Why don't you stay and become my manager?" | 1:07:22 | 1:07:25 | |
It was a tempting offer, | 1:07:25 | 1:07:27 | |
but the heroin I couldn't even begin to put up with. | 1:07:27 | 1:07:30 | |
# Oh | 1:07:34 | 1:07:40 | |
# Baby | 1:07:40 | 1:07:43 | |
# Cry, baby | 1:07:43 | 1:07:47 | |
# Cry, baby | 1:07:47 | 1:07:50 | |
# Oh, honey, welcome back home | 1:07:50 | 1:07:55 | |
# I had a man | 1:07:55 | 1:07:57 | |
# He said honey, honey You know that I love you | 1:07:59 | 1:08:05 | |
# See, baby, you know I gotta go find myself | 1:08:05 | 1:08:07 | |
# You know I gotta go find my life | 1:08:07 | 1:08:09 | |
# I gotta go find myself over in Africa | 1:08:09 | 1:08:12 | |
# Or over in New York City | 1:08:12 | 1:08:15 | |
# Or over in Olema | 1:08:15 | 1:08:18 | |
# Some place those cats are always wandering off to | 1:08:18 | 1:08:21 | |
# I never figured out exactly where it was | 1:08:21 | 1:08:23 | |
# Always going somewhere, man | 1:08:23 | 1:08:25 | |
# And I said, baby, don't you realise | 1:08:27 | 1:08:31 | |
# You lookin' for your life over there, honey | 1:08:32 | 1:08:35 | |
# You wanna know where your life is? | 1:08:35 | 1:08:37 | |
# Your life's waiting like a goddamn fool right here | 1:08:37 | 1:08:41 | |
# For you, man | 1:08:41 | 1:08:43 | |
# And one mornin', you're going to wake up in Casablanca | 1:08:43 | 1:08:46 | |
# One of those fancy places | 1:08:46 | 1:08:48 | |
# Honey, you're gonna be freezing to death, man | 1:08:48 | 1:08:50 | |
# You're gonna wake up just think Good Lord | 1:08:50 | 1:08:54 | |
# Good, good, good Lord | 1:08:54 | 1:08:57 | |
# I just went off and left that woman | 1:08:57 | 1:08:59 | |
# In that great big huge double bed Great big fur rug on top of it | 1:08:59 | 1:09:02 | |
# And those satin sheets man What am I doin' in Casablanca, man? | 1:09:02 | 1:09:07 | |
# I mean really, man | 1:09:07 | 1:09:09 | |
# One of these days, that cat's gonna wake up and say it to himself | 1:09:09 | 1:09:12 | |
# And when he comes back home, yeah Just like the Capricorn I am | 1:09:12 | 1:09:17 | |
# I'll be standin' there waiting | 1:09:17 | 1:09:20 | |
# I said, baby, I knew one day | 1:09:20 | 1:09:24 | |
# Honey, I knew, knew, knew one day | 1:09:24 | 1:09:27 | |
# Won't you finally come home to me | 1:09:27 | 1:09:30 | |
# Honey, when you walk through my front door | 1:09:30 | 1:09:34 | |
# I'll be able to tell by the look in your eyes | 1:09:34 | 1:09:37 | |
# I said, good God | 1:09:37 | 1:09:39 | |
# I mean finally Good God, yeah | 1:09:39 | 1:09:42 | |
# Lord, he done finally realised | 1:09:42 | 1:09:46 | |
# So you can put your head on my shoulder, yeah | 1:09:46 | 1:09:49 | |
# Cos I know you've got more tears to shed, do you | 1:09:49 | 1:09:54 | |
# So come on, come on, come on | 1:09:54 | 1:09:57 | |
# Come on, come on, come on | 1:09:57 | 1:10:00 | |
# And cry, cry, baby | 1:10:00 | 1:10:03 | |
# Cry, baby | 1:10:05 | 1:10:07 | |
# Cry | 1:10:09 | 1:10:11 | |
# Cry | 1:10:12 | 1:10:15 | |
# Cry, baby | 1:10:16 | 1:10:20 | |
# Cry, baby | 1:10:20 | 1:10:24 | |
# Cry, baby. # | 1:10:24 | 1:10:26 | |
CHEERING AND APPLAUSE | 1:10:29 | 1:10:31 | |
I want to ask you about that tune that you just sang. | 1:10:37 | 1:10:40 | |
-It's, erm, about men. -It's about men. | 1:10:40 | 1:10:45 | |
-Do you ever see those mule carts? -Yeah. | 1:10:45 | 1:10:47 | |
Well, there's a dumb mule up there, right, and they have a long stick | 1:10:47 | 1:10:52 | |
with a string and a carrot on the end of it. | 1:10:52 | 1:10:55 | |
And they hang this thing in front of the mule's nose | 1:10:55 | 1:10:57 | |
-and he runs after it all day long. -And who's the man in this parable? | 1:10:57 | 1:11:03 | |
-The mule or... -No. -Or is he holding the carrot? -The woman is the mule. | 1:11:03 | 1:11:08 | |
Chasing something that somebody's always teasing her with. | 1:11:08 | 1:11:10 | |
-Chasing a man. -Yeah. -Who always eludes her. | 1:11:10 | 1:11:13 | |
Well, they just always hold up something | 1:11:13 | 1:11:15 | |
more than they're prepared to give. | 1:11:15 | 1:11:17 | |
We had dinner one night and I remember suddenly saying, | 1:11:19 | 1:11:22 | |
without having planned to... | 1:11:22 | 1:11:24 | |
"How can you assure me that you're not taking... | 1:11:25 | 1:11:29 | |
"That you're not doing heroin? | 1:11:29 | 1:11:32 | |
And her answer was interesting. It was, "Who would care?" | 1:11:32 | 1:11:36 | |
It really stopped me. | 1:11:36 | 1:11:38 | |
Do you ever get back to Port Arthur, Texas? | 1:11:43 | 1:11:46 | |
No, but I'm going back next in August, man. | 1:11:46 | 1:11:48 | |
-And guess what I'm doing? -I don't know. | 1:11:48 | 1:11:50 | |
I'm going to my tenth annual high school reunion. | 1:11:50 | 1:11:53 | |
LAUGHTER AND APPLAUSE | 1:11:53 | 1:11:55 | |
Oh, I want to... Take movies and bring them back to us. | 1:11:57 | 1:12:00 | |
Hey, would you like to go, man? | 1:12:00 | 1:12:02 | |
Well, I don't have that many friends in your high school class. | 1:12:02 | 1:12:04 | |
I don't either. I don't either, believe me. | 1:12:04 | 1:12:07 | |
-They won't move the reunion now that you're going? -That's true. | 1:12:07 | 1:12:10 | |
I wasn't going to tell them. | 1:12:10 | 1:12:12 | |
What do you remember most about Port Arthur? | 1:12:17 | 1:12:19 | |
SHE LAUGHS | 1:12:19 | 1:12:21 | |
Erm... I don't really remember... VOICE BREAKS | 1:12:23 | 1:12:25 | |
Erm, no comment. THEY GIGGLE | 1:12:25 | 1:12:27 | |
It was really only the acceptance of millions that could make up | 1:12:30 | 1:12:34 | |
for that way that she's grown up. | 1:12:34 | 1:12:37 | |
If everyone loved her, then it was OK, but if anyone didn't, | 1:12:37 | 1:12:42 | |
they could destroy her in a minute. | 1:12:42 | 1:12:45 | |
How were you different from your schoolmates when you were in TJ? | 1:12:45 | 1:12:49 | |
I don't know. Why don't you ask them? | 1:12:49 | 1:12:51 | |
-It was they, it was they who made you different? -No. I... | 1:12:54 | 1:12:57 | |
In other words, you were different in comparison with them | 1:12:57 | 1:13:00 | |
or were you... | 1:13:00 | 1:13:01 | |
I felt apart from them. Let's put it that way. | 1:13:01 | 1:13:04 | |
-Did you go to football games? -I don't remember. | 1:13:04 | 1:13:08 | |
Erm, I don't remember. | 1:13:10 | 1:13:12 | |
I think not. I didn't go to the high school prom. And... | 1:13:13 | 1:13:19 | |
-You were asked, weren't you? -No. I wasn't. They didn't think... | 1:13:20 | 1:13:25 | |
I don't think they wanted to take me. | 1:13:25 | 1:13:27 | |
SHE LAUGHS | 1:13:27 | 1:13:30 | |
TEARFULLY: And I've been suffering ever since! | 1:13:30 | 1:13:33 | |
THEY LAUGH I remember, when I was young, | 1:13:33 | 1:13:36 | |
some doctor told my mother that if I didn't, quote, straighten up, | 1:13:36 | 1:13:42 | |
quote, I was going to end up either in jail or in an insane | 1:13:42 | 1:13:46 | |
asylum by the time I was 21, right. | 1:13:46 | 1:13:48 | |
So when I turned 25 and my second record came out, I think | 1:13:49 | 1:13:51 | |
my mother sent me a congratulatory telegram or something, | 1:13:51 | 1:13:54 | |
you know, that I had escaped the pen. | 1:13:54 | 1:13:57 | |
-How do you get along with your parents? -Pretty good. Pretty... | 1:13:57 | 1:14:00 | |
-They had somewhere to go? -Right. | 1:14:00 | 1:14:02 | |
They went to a wedding at the high school. We get along pretty good. | 1:14:02 | 1:14:06 | |
-Erm... Yeah. -Do they ever seem surprised by your success? | 1:14:06 | 1:14:09 | |
I think yeah, yeah. | 1:14:11 | 1:14:13 | |
Our parents saw it as, you know, challenging to their way of life, | 1:14:13 | 1:14:18 | |
to their positions in the community | 1:14:18 | 1:14:20 | |
and it created difficulties between them | 1:14:20 | 1:14:23 | |
and both of them silently, with each other, | 1:14:23 | 1:14:27 | |
feeling that they had somehow caused a calamity. | 1:14:27 | 1:14:32 | |
I didn't see her for six months. | 1:14:55 | 1:14:57 | |
She had promised me that she was going to quit heroin. | 1:14:57 | 1:15:01 | |
And she did. And it changed her. | 1:15:01 | 1:15:04 | |
"Dear Family. Things are going so well for me. | 1:15:07 | 1:15:11 | |
"I have a new, smaller band and it's really going fantastic. | 1:15:11 | 1:15:14 | |
"Met a really fine man in Rio but I had to get back to work | 1:15:14 | 1:15:17 | |
"so he's off finding the rest of the world. | 1:15:17 | 1:15:20 | |
"But he really did love me and was so good to me. | 1:15:20 | 1:15:23 | |
"He wants to come back and marry me. | 1:15:23 | 1:15:25 | |
"I thought I'd die without someone besides fans asking me. | 1:15:25 | 1:15:28 | |
"But he meant it and who knows? I may get tired of the music biz. | 1:15:28 | 1:15:31 | |
"But I'm really getting it on now." | 1:15:31 | 1:15:33 | |
She called me up and said, "I've got a great new band. | 1:15:38 | 1:15:41 | |
"You want to come back on the road?" | 1:15:41 | 1:15:43 | |
With Janis, it was magic. | 1:15:43 | 1:15:46 | |
She had a gift from God when she played. | 1:15:46 | 1:15:48 | |
There was a connection there. I don't know what it was between us. | 1:15:48 | 1:15:53 | |
Somehow we didn't really do a lot... We never did a lot of talking. | 1:15:53 | 1:15:56 | |
She was a bubbly person. | 1:15:58 | 1:16:00 | |
She wanted everything to be so perfect for everyone. Not just her. | 1:16:00 | 1:16:03 | |
Everyone. | 1:16:03 | 1:16:05 | |
# You say that it's over, baby | 1:16:05 | 1:16:08 | |
# You say that it's over now | 1:16:08 | 1:16:11 | |
# But still you hang around... # | 1:16:11 | 1:16:13 | |
She said, "Man, with Full Tilt I can change something | 1:16:13 | 1:16:16 | |
"in the middle of the song and they're right there." | 1:16:16 | 1:16:20 | |
She was a fantastic front person. | 1:16:20 | 1:16:23 | |
She would say, "When I do the windmill, keep her going." | 1:16:23 | 1:16:27 | |
Or we'd be playing a song | 1:16:27 | 1:16:29 | |
and she'd decide she'd like to talk to the audience. | 1:16:29 | 1:16:32 | |
She would bring the band down and then she would start talking. | 1:16:32 | 1:16:37 | |
I can't hear you! | 1:16:37 | 1:16:39 | |
She was working the crowd. | 1:16:44 | 1:16:47 | |
# You say that it's over, baby... # | 1:16:47 | 1:16:49 | |
It wasn't just that she was clean. | 1:16:49 | 1:16:51 | |
She had learned just about every lesson to be learned | 1:16:51 | 1:16:55 | |
from the really tough times of the year before. | 1:16:55 | 1:17:00 | |
She was more comfortable about her whole life. | 1:17:00 | 1:17:03 | |
Having David leave her was actually really good for her. | 1:17:05 | 1:17:09 | |
She spoke of him afterwards as her lost love. | 1:17:09 | 1:17:12 | |
She still hoped that he would come back after she got clean. | 1:17:12 | 1:17:15 | |
# I ain't got no time for walking | 1:17:15 | 1:17:17 | |
# And what's that gonna do with your love | 1:17:17 | 1:17:20 | |
# Love all just dangling | 1:17:20 | 1:17:23 | |
# Hey | 1:17:23 | 1:17:25 | |
# Make up your mind, honey | 1:17:25 | 1:17:28 | |
# You're playing with me... # | 1:17:28 | 1:17:31 | |
"David, honey. Daddy, listen. I kicked, man, four months ago. | 1:17:31 | 1:17:35 | |
"I'm on the road rockin' with a great group so I got Janis back. | 1:17:35 | 1:17:39 | |
"She's delightfully crazy but I love her, man. | 1:17:39 | 1:17:42 | |
"I've got that picture of us in Salvador | 1:17:42 | 1:17:44 | |
"and every time I look at it, I look like a woman. | 1:17:44 | 1:17:47 | |
"Not a pop star. But I'm afraid it's too late. | 1:17:47 | 1:17:49 | |
"I know how to be a pop star but I don't know how to bake bread. | 1:17:49 | 1:17:53 | |
"But honey, when I look at you, this whole flood comes over me. | 1:17:53 | 1:17:56 | |
"I love ya and I did write, motherfucker. Don't you yell at me." | 1:17:56 | 1:18:00 | |
-PHONE INTERVIEWER: -It seems to bother a lot of women's lib people | 1:18:24 | 1:18:27 | |
that you're kind of so upfront sexually. | 1:18:27 | 1:18:30 | |
I haven't been attacked by anyone yet. | 1:18:30 | 1:18:32 | |
You know, how can they attack me? | 1:18:32 | 1:18:34 | |
I'm representing everything they said they want, you know. | 1:18:34 | 1:18:38 | |
It's sort of like you are what you settle for, do you know what I mean? | 1:18:38 | 1:18:41 | |
And if, you know, if they settle for being somebody's dishwasher, | 1:18:41 | 1:18:45 | |
that's their own fucking problem. | 1:18:45 | 1:18:47 | |
If you don't settle for that and you keep fighting, you know, | 1:18:47 | 1:18:50 | |
you'll end up anything you'll want to be. | 1:18:50 | 1:18:52 | |
I'm just doing what I want to and what feels right | 1:18:52 | 1:18:56 | |
and not settling for bullshit and it works. How can they be mad at that? | 1:18:56 | 1:19:01 | |
One girl I know said, | 1:19:01 | 1:19:03 | |
"How come she doesn't have any women in any of her groups?" | 1:19:03 | 1:19:06 | |
You show me a good drummer and I'll hire one. You know. | 1:19:06 | 1:19:09 | |
Show me a good chick. | 1:19:09 | 1:19:11 | |
-Besides, I don't want a chick on the road with me. -You don't? | 1:19:11 | 1:19:14 | |
I've got enough competition, man. THEY LAUGH | 1:19:14 | 1:19:16 | |
No, I like to be around men! | 1:19:17 | 1:19:21 | |
-Fuck it! -God bless ya, folks! | 1:19:23 | 1:19:25 | |
-God bless ya! -Peace, love, truth, beauty! | 1:19:25 | 1:19:28 | |
It was fun getting back with her on the Festival Express. | 1:19:28 | 1:19:33 | |
Because we were all stuck in a little area. | 1:19:33 | 1:19:36 | |
Her yes men couldn't contain her there. | 1:19:37 | 1:19:40 | |
They couldn't control her there because she wanted to get out | 1:19:40 | 1:19:43 | |
and be with her kindred spirits, the musicians. | 1:19:43 | 1:19:46 | |
-Are we in Calgary yet? -We're stopped. | 1:19:46 | 1:19:48 | |
-And we're going to run out... -We're in Alberta. -Alberta? -Alberta. | 1:19:48 | 1:19:51 | |
Alberta, let yo' hair hang do-... | 1:19:51 | 1:19:54 | |
No! LAUGHTER DROWNS SPEECH | 1:19:54 | 1:19:56 | |
I've loved you ever since the day I saw you. | 1:20:00 | 1:20:04 | |
'Drew didn't love Janis | 1:20:06 | 1:20:08 | |
'because she was a Sports Illustrated swimsuit model. | 1:20:08 | 1:20:11 | |
'He loved her for what she did. And the sparks that she threw off. | 1:20:11 | 1:20:17 | |
'He had a right proper appreciation for what Janis was | 1:20:17 | 1:20:20 | |
'and what she had to offer.' | 1:20:20 | 1:20:23 | |
# From the Kentucky coalmines to the California sun | 1:20:29 | 1:20:33 | |
# Bobby shared the secrets of my soul... | 1:20:33 | 1:20:38 | |
Her producer gave me a demo of her singing Bobby McGee. | 1:20:38 | 1:20:44 | |
# Bobby, baby, kept me from the cold... # | 1:20:44 | 1:20:52 | |
It was so exhilarating for me to hear her make that her song. | 1:20:52 | 1:20:56 | |
If you're a songwriter and somebody does that with what you've got, | 1:20:56 | 1:21:01 | |
it's the greatest feeling in the world. | 1:21:01 | 1:21:03 | |
# Well, I'd trade all of my tomorrows | 1:21:03 | 1:21:06 | |
# For one single yesterday | 1:21:06 | 1:21:09 | |
# To be holding Bobby's body next to mine... # | 1:21:09 | 1:21:13 | |
TRACK FADES INTO STUDIO VERSION | 1:21:13 | 1:21:15 | |
# Freedom's just another word For nothing left to lose | 1:21:15 | 1:21:19 | |
# Nothin', that's all that Bobby left me... # | 1:21:19 | 1:21:23 | |
-I hear you're making a new record. -Yeah. It's really going good. | 1:21:23 | 1:21:27 | |
I like my producer. He's really worked out really well with me. | 1:21:27 | 1:21:30 | |
-Who's producing it? -Paul Rothchild. | 1:21:30 | 1:21:32 | |
-You haven't worked with him before, huh? -No. No, I haven't. | 1:21:32 | 1:21:36 | |
The first time I talked to Janis about Paul, she said, | 1:21:36 | 1:21:38 | |
"Boy, that guy!" And I said, "What?" | 1:21:38 | 1:21:41 | |
And she started talking about him and this is serious Janis | 1:21:41 | 1:21:44 | |
and I had never heard her say this kind of stuff about anybody. | 1:21:44 | 1:21:48 | |
She was talking about how much she was learning from him. | 1:21:48 | 1:21:53 | |
The mood was very up. I mean, as good as sessions get. | 1:21:53 | 1:21:59 | |
Everybody in love with everybody else and working very hard. | 1:21:59 | 1:22:03 | |
And Janis, she was always ready to do the most. | 1:22:03 | 1:22:07 | |
She was a much better singer than the world or even she knew. | 1:22:07 | 1:22:12 | |
# La-la-la-la-la-la-la La-la-la-la-la | 1:22:12 | 1:22:15 | |
# Hey now, Bobby Bobby McGee... # | 1:22:15 | 1:22:17 | |
What he was asking her to do was to understand the different voices | 1:22:17 | 1:22:22 | |
she had at her command | 1:22:22 | 1:22:24 | |
and the ramifications of this for Janis were really profound. | 1:22:24 | 1:22:29 | |
Because she had always said, and she absolutely meant it, "Oh, man. | 1:22:29 | 1:22:32 | |
"When I blow out my voice, I'm gonna buy a bar, retire in Rains County." | 1:22:32 | 1:22:37 | |
What she was learning from Paul was enabling her to see | 1:22:37 | 1:22:40 | |
farther into the future. | 1:22:40 | 1:22:43 | |
And that's where Paul was looking all along. | 1:22:43 | 1:22:45 | |
He said, "30 years from now, I want you to be making your best album | 1:22:45 | 1:22:49 | |
"and I want you to be making it with me. | 1:22:49 | 1:22:52 | |
She called me on the phone and she said, | 1:22:53 | 1:22:56 | |
"I've got to play on the phone for you... | 1:22:56 | 1:22:58 | |
"..a song of Kris Kristofferson's that I've just recorded." | 1:23:00 | 1:23:05 | |
To hear that voice, to hear her pride, to hear her excitement... | 1:23:05 | 1:23:11 | |
I didn't hear it till she was gone and it was very emotional for me. | 1:23:13 | 1:23:20 | |
I can see her saying, "Wait till that son-of-a-bitch hears this!" | 1:23:21 | 1:23:25 | |
You know? | 1:23:25 | 1:23:27 | |
# Hey, hey, hey, Bobby McGee. # | 1:23:29 | 1:23:32 | |
You know, everything about it was positive for Janis. | 1:23:34 | 1:23:37 | |
Except that she always hated the down hours. | 1:23:37 | 1:23:39 | |
The Janis who says, "How come the guys in the band go home, | 1:23:43 | 1:23:46 | |
"you know, with these girls and I go home alone?" | 1:23:46 | 1:23:49 | |
She was saying, "You can't imagine how hard it is to be me." | 1:23:49 | 1:23:53 | |
She just didn't know who to relax with. She just didn't know any more. | 1:23:59 | 1:24:04 | |
A lot of pressure. "You've got to do this, Janis. You've got to do that." | 1:24:06 | 1:24:10 | |
That's what made it hard for her, I think. She loved everybody. | 1:24:10 | 1:24:14 | |
That was the problem. | 1:24:14 | 1:24:16 | |
She was like a little girl lost | 1:24:18 | 1:24:21 | |
and then she would be as strong as a mountain lion. | 1:24:21 | 1:24:26 | |
Erm... | 1:24:26 | 1:24:28 | |
As far as anyone could see, she had kicked heroin. | 1:24:33 | 1:24:36 | |
She had replaced it with alcohol, | 1:24:36 | 1:24:38 | |
but it didn't look like that was going to kill her. | 1:24:38 | 1:24:41 | |
I think she thought, "One last little hurrah." | 1:24:41 | 1:24:45 | |
I can understand her wanting to, you know, "No-one's ever going to know. | 1:24:47 | 1:24:51 | |
"I'll hang in my room, do a hit and then go to bed." | 1:24:51 | 1:24:56 | |
Paul Rothchild called me and he said, "Janis isn't here. | 1:24:59 | 1:25:02 | |
"Can you see if you can find her?" | 1:25:02 | 1:25:05 | |
And I pulled out of the driveway and I look up there | 1:25:05 | 1:25:08 | |
and I know which window is hers and there's a light in the window. | 1:25:08 | 1:25:12 | |
And when I opened the door, I had this really simple | 1:25:13 | 1:25:17 | |
and direct feeling - nobody's here. | 1:25:17 | 1:25:19 | |
I came round the corner and saw Janis lying by the bed. | 1:25:20 | 1:25:23 | |
But that feeling of nobody is here, it was right. | 1:25:28 | 1:25:31 | |
# Sit there | 1:25:41 | 1:25:46 | |
# Mm, count your fingers | 1:25:49 | 1:25:52 | |
# What else | 1:25:54 | 1:25:56 | |
# What else is there to do... # | 1:25:56 | 1:26:01 | |
I was standing at a stove, boiling an egg or something. | 1:26:04 | 1:26:09 | |
The radio said, "Janis Joplin..." | 1:26:09 | 1:26:11 | |
And I knew before they got the last consonant in her name out | 1:26:11 | 1:26:14 | |
that she was dead. | 1:26:14 | 1:26:16 | |
# Count, oh, count your little fingers | 1:26:18 | 1:26:23 | |
# My unhappy... # | 1:26:23 | 1:26:25 | |
I wrote a telegram to Janis that says... | 1:26:28 | 1:26:31 | |
"Really miss you. Things aren't the same alone. | 1:26:33 | 1:26:37 | |
"Could meet you in Kathmandu any time, | 1:26:38 | 1:26:40 | |
"but late October is the best season. | 1:26:40 | 1:26:43 | |
"Love you, Momma. More than you know." | 1:26:44 | 1:26:47 | |
# Oh, sit there... # | 1:26:47 | 1:26:53 | |
I just fell apart. I just completely fell apart. | 1:26:54 | 1:26:57 | |
She was in touch with her emotions and who she was in some way | 1:26:57 | 1:27:04 | |
that nobody else that I knew was that in touch with. | 1:27:04 | 1:27:07 | |
And to be that way, to try to get that, that's... | 1:27:07 | 1:27:11 | |
That's the price you pay for doing that kind of art on that level, | 1:27:14 | 1:27:18 | |
you know. | 1:27:18 | 1:27:20 | |
"Dear Family. I'm awfully sorry to be such a disappointment to you, | 1:27:26 | 1:27:31 | |
"but I really do think there's an awfully good chance | 1:27:31 | 1:27:34 | |
"I won't blow it this time. | 1:27:34 | 1:27:37 | |
"There's really nothing more I can say right now. | 1:27:37 | 1:27:40 | |
"Guess I'll write more when I have more news. | 1:27:40 | 1:27:42 | |
"Until then, address all criticism to the above address | 1:27:42 | 1:27:47 | |
"and believe that you can't possibly want for me to be a winner | 1:27:47 | 1:27:52 | |
"more than I do. Love, Janis." | 1:27:52 | 1:27:55 | |
# Sit there | 1:27:56 | 1:28:01 | |
# Go on, go on and count your fingers | 1:28:01 | 1:28:07 | |
# Oh, no, what else, what else What else have you got to do | 1:28:07 | 1:28:15 | |
# I know how you feel | 1:28:15 | 1:28:18 | |
# And I know you ain't got no reason to go on | 1:28:18 | 1:28:21 | |
# I know you feel that you must be through | 1:28:21 | 1:28:23 | |
# Go on and sit right back down | 1:28:23 | 1:28:27 | |
# Oh, won't you count Count your fingers | 1:28:27 | 1:28:31 | |
# My unhappy | 1:28:31 | 1:28:34 | |
# My unlucky | 1:28:34 | 1:28:37 | |
# But my little Little girl blue | 1:28:37 | 1:28:41 | |
# I know you're unhappy | 1:28:41 | 1:28:44 | |
# Oh | 1:28:44 | 1:28:46 | |
# Honey, I know | 1:28:46 | 1:28:49 | |
# Babe, I know just how you feel. # | 1:28:49 | 1:28:56 |