VIDEO of Janis Joplin ~ Live in Frankfurt, Germany (RARE Concert Footage) http://www.happyvideonetwork.com/janis-joplin-live-in-frankfurt/
Janis Joplin in 1969
|Birth name||Janis Lyn Joplin|
|Also known as||Pearl|
|Born||January 19, 1943
Port Arthur, Texas, U.S.
|Origin||San Francisco, California|
|Died||October 4, 1970 (aged 27)
Los Angeles, California, U.S.
Janis Lyn Joplin (/ˈdʒɒplɪn/; January 19, 1943 – October 4, 1970) was an American singer considered the premier female blues vocalist of the Sixties; her raw, powerful and uninhibited singing style, combined with her turbulent and emotional lifestyle, made her one of the biggest female stars in her lifetime. She died of a drug overdose in 1970 after releasing only four albums.
Joplin rose to fame in 1967 during an appearance at Monterey Pop Festival while the lead singer of the then unknown San Francisco psychedelic rock band Big Brother and the Holding Company. After two albums with the band, she left them to continue as a solo artist with her own backing groups, first the Kozmic Blues Band and the Full Tilt Boogie Band. She appeared at Woodstock festival and the Festival Express train tour. Five singles by Joplin went into the Billboard Top 100, including “Me and Bobby McGee” which reached number 1 in March 1971; her most popular songs include “Piece of My Heart“, “Cry Baby“, “Down on Me“, “Ball ‘n’ Chain“, “Summertime“, and “Mercedes Benz” the final song she recorded.
Joplin was well known for her performing ability. Audiences and critics both referred to her stage presence as “electric”. Rolling Stone ranked Joplin number 46 on its list of the 100 Greatest Artists of All Time in 2004 and number 28 on its 2008 list of 100 Greatest Singers of All Time. She was inducted into the Rock and Roll Hall of Fame in 1995. Joplin remains one of the top-selling musicians in the United States, with Recording Industry Association of America certifications of 15.5 million albums sold in the USA.
- 1Early life: 1943–61
- 2Early recordings: 1962–65
- 3Big Brother and the Holding Company: 1966–68
- 4Solo career: 1969–70
- 9Billboard Chart
- 13External links
Early life: 1943–61
Janis Joplin was born in Port Arthur, Texas, on January 19, 1943, to Dorothy Bonita East (February 15, 1913 – December 13, 1998), a registrar at a business college, and her husband, Seth Ward Joplin (April 19, 1910 – May 10, 1987), an engineer at Texaco. She had two younger siblings, Michael and Laura. The family attended the Church of Christ. The Joplins felt that Janis needed more attention than their other children. As a teenager, she befriended a group of outcasts, one of whom had albums by bluesartists Bessie Smith, Ma Rainey and Lead Belly, whom Joplin later credited with influencing her decision to become a singer. She began singing in the local choir and expanded her listening to blues singers such as Odetta, Billie Holiday and Big Mama Thornton.
Primarily a painter while still in school, she first began singing blues and folk music with friends. While at Thomas Jefferson High School, she stated that she was mostly shunned. Joplin was quoted as saying, “I was a misfit. I read, I painted, I thought. I didn’t hate niggers.” As a teen, she became overweight and her skin broke out so badly she was left with deep scars that required dermabrasion. Other kids at high school would routinely taunt her and call her names like “pig,” “freak,” “nigger lover” or “creep.” Among her classmates were future film actor G. W. Bailey and NFL coach Jimmy Johnson. Joplin graduated from high school in 1960 and attended Lamar State College of Technology in Beaumont, Texas, during the summer and later the University of Texas at Austin, though she did not complete her studies. The campus newspaper The Daily Texan ran a profile of her in the issue dated July 27, 1962, headlined “She Dares to Be Different.” The article began, “She goes barefooted when she feels like it, wears Levis to class because they’re more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break into song, it will be handy. Her name is Janis Joplin.”
Early recordings: 1962–65
Cultivating a rebellious manner, Joplin styled herself in part after her female blues heroines and, in part, after the Beat poets. Her first song recorded on tape, at the home of a fellow University of Texas student in December 1962, was “What Good Can Drinkin’ Do.”
She left Texas in January 1963 (“just to get away,” she said, “because my head was in a much different place”), moving to North Beach, San Francisco and later Haight-Ashbury. In 1964, Joplin and future Jefferson Airplane guitarist Jorma Kaukonen recorded a number of blues standards, which incidentally featured Margareta Kaukonen using a typewriter in the background. This session included seven tracks: “Typewriter Talk,” “Trouble in Mind,” “Kansas City Blues,” “Hesitation Blues,” “Nobody Knows You When You’re Down and Out,” “Daddy, Daddy, Daddy” and “Long Black Train Blues,” and was later released as the bootleg album The Typewriter Tape. Around this time, her drug use increased, and she acquired a reputation as a “speed freak” and occasional heroin user. She also used other psychoactive drugs and was a heavy drinker throughout her career; her favorite alcoholic beverage was Southern Comfort. In early 1965, Joplin’s friends in San Francisco, noticing the detrimental effects on her from regularly injectingmethamphetamine (she was described as “skeletal” and “emaciated”), persuaded her to return to Port Arthur, Texas. In May 1965, Joplin’s friends threw her a bus-fare party so she could return home. Five years later, Joplin told Rolling Stone magazine writer David Dalton the following about her first stint in San Francisco: “I didn’t have many friends and I didn’t like the ones I had.”
Back in Port Arthur in the spring of 1965, Joplin changed her lifestyle. She avoided drugs and alcohol, adopted a beehive hairdo, and enrolled as an anthropology major atLamar University in nearby Beaumont, Texas. During her time at Lamar University, she commuted to Austin to perform solo, accompanying herself on guitar. One of her performances was at a benefit by local musicians for Texas bluesman Mance Lipscomb, who was suffering from major health problems. Another of her performances was reviewed in the Austin American-Statesman.
Joplin became engaged to Peter de Blanc in the fall of 1965. She had begun a relationship with him toward the end of her first stint in San Francisco. Now living in New York where he worked with IBMcomputers, he visited her, wearing a blue serge suit, to ask her father for her hand in marriage. Joplin and her mother began planning the wedding. De Blanc, who traveled frequently, terminated plans for the marriage soon afterwards.
Just prior to joining Big Brother and the Holding Company, Joplin recorded seven studio tracks in 1965. Among the songs she recorded was her original composition for her song “Turtle Blues” and an alternate version of “Cod’ine” by Buffy Sainte-Marie. These tracks were later issued as a new album in 1995 entitled This is Janis Joplin 1965 by James Gurley.
Big Brother and the Holding Company: 1966–68
In 1966, Joplin’s bluesy vocal style attracted the attention of the psychedelic rock band Big Brother and the Holding Company, a band that had gained some renown among the nascent hippie community in Haight-Ashbury. She was recruited to join the group by Chet Helms, a promoter who had known her in Texas and who at the time was managing Big Brother. Helms enlisted Travis Rivers, a friend of both Helms and Joplin, to travel with her from Texas to California. Joplin joined Big Brother on June 4, 1966. Her first public performance with them was at the Avalon Ballroom in San Francisco.
In June, Joplin was photographed at an outdoor concert in San Francisco that celebrated the summer solstice. The image, which was later published in two books by David Dalton, shows her before she relapsed into drugs. Due to persistent persuading by keyboardist and close friend Stephen Ryder, Joplin avoided drug use for several weeks, enjoining bandmate Dave Getz to promise that using needles would not be allowed in their rehearsal space or in her apartment or in the homes of her bandmates whom she visited. When a visitor injected drugs in front of Joplin and Getz, Joplin angrily reminded Getz that he had broken his promise. A San Francisco concert from that summer was recorded and released in the 1984 album Cheaper Thrills. In July, all five bandmates and guitarist James Gurley‘s wife Nancy moved to a house in Lagunitas, California, where they lived communally. They often partied with the Grateful Dead, who lived less than two miles away. She had a short relationship and longer friendship with founding member Ron “Pigpen” McKernan.
The band went to Chicago for a four-week engagement in August 1966, then found themselves stranded after the promoter ran out of money when their concerts did not attract the expected audience levels, and he was unable to pay them. In the circumstances the band signed to Bob Shad‘s record label Mainstream Records; recordings for the label took place in Chicago in September, but these were not satisfactory, and the band returned to San Francisco, continuing to perform live, including at the Love Pageant Rally. The band recorded two tracks “Blindman” and “All Is Loneliness” in Los Angeles, and these were released by Mainstream as a single which did not sell well. After playing at a “happening” in Stanford in early December 1966, the band travelled back to Los Angeles to record 10 tracks between December 12 and 14, 1966, produced by Bob Shad, which appeared on the band’s debut album in August 1967.
One of Joplin’s earliest major performances in 1967 was the Mantra-Rock Dance, a musical event held on January 29 at the Avalon Ballroom by the San Francisco Hare Krishna temple. Janis Joplin and Big Brother performed there along with the Hare Krishna founder Bhaktivedanta Swami, Allen Ginsberg, Moby Grape, and Grateful Dead, donating proceeds to the Krishna temple. In early 1967, Joplin met Country Joe McDonald of the group Country Joe and the Fish. The pair lived together as a couple for a few months. Joplin and Big Brother began playing clubs in San Francisco, at the Fillmore West, Winterland and theAvalon Ballroom. They also played at the Hollywood Bowl in Los Angeles, as well as in Seattle, Washington and Vancouver, British Columbia, the Psychedelic Supermarket in Boston, Massachusetts, and the Golden Bear Club in Huntington Beach, California.
Monterey and breakthrough
The band’s debut studio album, Big Brother & the Holding Company, was released by Mainstream Records in August 1967, shortly after the group’s breakthrough appearance in June at the Monterey Pop Festival.Two tracks, “Coo Coo” and “The Last Time”, were released separately as a single, while the tracks from the previous single, “Blindman” and “All Is Loneliness”, were added to the remaining eight tracks. When Columbia took over the band’s contract and re-released the album, they included “Coo Coo” and “The Last Time”, and put “featuring Janis Joplin” on the cover. The debut album spawned four minor hits with the singles “Down on Me,” a traditional song arranged by Joplin, “Bye Bye Baby,” “Call On Me” and “Coo Coo,” on all of which Joplin sang lead vocals. Two songs from the second of Big Brother’s two sets at Monterey were filmed. “Combination of the Two” and a version of Big Mama Thornton‘s “Ball ‘n’ Chain” appear in the DVD box set of D. A. Pennebaker‘s documentary Monterey Pop released by The Criterion Collection. The film captured Cass Elliot, of The Mamas & the Papas, seated in the audience silently mouthing “Wow! That’s really heavy!” during Joplin’s performance of “Ball and Chain.” Only “Ball and Chain” was included in the film that was released to theaters nationwide in 1969 and shown on television in the 1970s. Those who did not attend Monterey Pop saw the band’s performance of “Combination of the Two” for the first time in 2002 when The Criterion Collection released the box set.
After switching managers from Chet Helms to Julius Karpen in 1966, the group signed with top artist manager Albert Grossman, whom they met for the first time at Monterey Pop. For the remainder of 1967, Big Brother performed mainly in California. On February 16, 1968, the group began its first East Coast tour in Philadelphia, and the following day gave their first performance in New York City at the Anderson Theater. On April 7, 1968, the last day of their East Coast tour, Joplin and Big Brother performed with Jimi Hendrix, Buddy Guy, Joni Mitchell, Richie Havens, Paul Butterfield, and Elvin Bishop at the “Wake forMartin Luther King, Jr.” concert in New York.
Live at Winterland ’68, recorded at the Winterland Ballroom on April 12 and 13, 1968, features Joplin and Big Brother and the Holding Company at the height of their mutual career working through a selection of tracks from their albums. A recording became available to the public for the first time in 1998 when Sony Music Entertainment released the compact disc. One month later, Owsley Stanley recorded them at the Carousel Ballroom, released as Live at the Carousel Ballroom 1968 in 2012. In early 1968, Joplin and Big Brother made their nationwide television debut on The Dick Cavett Show, an ABC daytime variety show hosted by Dick Cavett. Shortly thereafter, network employees wiped the videotape. Over the next two years, she made three appearances on the primetime Cavett program, and all were preserved.
By 1968, the band was being billed as “Janis Joplin and Big Brother and the Holding Company,” and the media coverage given to Joplin generated resentment within the band. The other members of Big Brother thought that Joplin was on a “star trip,” while others were telling Joplin that Big Brother was a terrible band and that she ought to dump them.Time magazine called Joplin “probably the most powerful singer to emerge from the white rock movement,” and Richard Goldstein wrote for the May 1968 issue of Vogue magazine that Joplin was “the most staggering leading woman in rock… she slinks like tar, scowls like war… clutching the knees of a final stanza, begging it not to leave… Janis Joplin can sing the chic off any listener.”
For her first major studio recording, Janis played a major role in the arrangement and production of the recordings that would become Big Brother and the Holding Company’s second album, Cheap Thrills. During the recording, Joplin was said to be the first person to enter the studio and the last person to leave. Footage of Joplin and the band in the studio shows Joplin in great form and taking charge during the recording for “Summertime.” The album featured a cover design by counterculture cartoonist Robert Crumb. Although Cheap Thrills sounded as if it consisted of concert recordings, like on “Combination of the Two” and “I Need a Man to Love,” only “Ball and Chain” was actually recorded in front of a paying audience; the rest of the tracks were studio recordings. The album had a raw quality, including the sound of a cocktail glass breaking and the broken shards being swept away during the song “Turtle Blues.” Cheap Thrills produced very popular hits with “Piece of My Heart” and “Summertime.” Together with the premiere of the documentary filmMonterey Pop at New York’s Lincoln Center for the Performing Arts on December 26, 1968, the album launched Joplin’s successful, albeit short, musical career.Cheap Thrills reached No. 1 on the Billboard 200album chart eight weeks after its release, remaining for eight (nonconsecutive) weeks. The album was certified gold at release and sold over a million copies in the first month of its release. The lead single from the album, “Piece of My Heart,” reached No. 12 on the Billboard Hot 100 in the fall of 1968.
The band made another East Coast tour during July–August 1968, performing at the Columbia Records convention in Puerto Rico and the Newport Folk Festival. After returning to San Francisco for two hometown shows at the Palace of Fine Arts Festival on August 31 and September 1, Joplin announced that she would be leaving Big Brother. On September 14, 1968, culminating a three-night final gig together at Fillmore West, fans thronged to a concert that Bill Graham publicized as the last official concert of Janis Joplin with Big Brother and the Holding Company. The opening acts on this night were Chicago (then still called Chicago Transit Authority) and Santana.
Despite Graham’s announcement that the Fillmore West gig was Big Brother’s last concert with Joplin, the band—with Joplin still as lead vocalist—toured the United States that fall. Two performances at a roller rink inAlexandria, Virginia, at a time when the Washington, D.C. area’s hard rock scene was in its infancy, were reviewed by John Segraves of the Evening Star. An opera buff at the time, he wrote, “Miss Joplin, in her early 20s, has been for the last year or two the vocalist with Big Brother and the Holding Company, a rock quintet of superior electric expertise. Shortly she will be merely Janis Joplin, a vocalist singing folk rock on her first album as a single. Whatever she does and whatever she sings she’ll do it well because her vocal talents are boundless. This is the way she came across in a huge, high-ceilinged roller skating rink without any acoustics but, thankfully a good enough sound system behind her. In a proper room, I would imagine there would be no adjectives to describe her.” Later that month, October 1968, Big Brother performed atUniversity of Massachusetts Amherst and Worcester Polytechnic Institute. During a November concert at the Guthrie Theater in Minneapolis, bassist Peter Albin made fun of Joplin in front of their audience, joking that when she panted after finishing a song she sounded like Lassie. Joplin’s last performance with Big Brother, not counting two reunions in 1970, was at a Family Dog benefit on December 1, 1968.
Solo career: 1969–70
Kozmic Blues Band
After splitting from Big Brother and the Holding Company, Joplin formed a new backup group, the Kozmic Blues Band, composed of session musicians like keyboardist Stephen Ryder and saxophonist Cornelius “Snooky” Flowers, as well as Big Brother and the Holding Company guitarist Sam Andrew and future Full Tilt Boogie Band bassist Brad Campbell. The band was influenced by the Stax-Volt rhythm and blues (R&B) bands of the 1960s, as exemplified by Otis Redding and the Bar-Kays. The Stax-Volt R&B sound was typified by the use of horns and had a more bluesy, funky, soul, pop-oriented sound than most of the hard-rock psychedelic bands of the period. By early 1969, Joplin was allegedly shooting at least $200 worth of heroin per day, ($1300 in 2016 dollars) although efforts were made to keep her clean during the recording of I Got Dem Ol’ Kozmic Blues Again Mama!. Gabriel Mekler, who produced the Kozmic Blues, told publicist-turned-biographer Myra Friedman after Joplin’s death that the singer had lived in his house during the June 1969 recording sessions at his insistence so he could keep her away from drugs and her drug-using friends. Joplin’s appearances with the Kozmic Blues Band in Europe were released in cinemas in the documentary Janis, which was reviewed by the Washington Post on March 21, 1975. The film shows Joplin arriving inFrankfurt by plane and waiting inside a bus next to the Frankfurt venue while an American fan who is visiting Germany expresses enthusiasm to the camera.
No security was used in Frankfurt so by the end of the concert the stage was so packed with people that the band members could not see each other. Another film was made of the band’s performance in Stockholmfeaturing Joplin’s interpretation of “Summertime.” The Janis documentary also includes interviews with her in Stockholm and from her visit to London for her gig at Royal Albert Hall. After appearing on German television, the Kozmic Blues Band performed on several American television shows with Joplin. On the Tom Jones television show, they performed “Little Girl Blue” and “Raise Your Hand,” the latter with Jones singing a duet with Joplin. On one episode of The Dick Cavett Show, they performed “Try (Just a Little Bit Harder)” as well as “To Love Somebody,” As Dick Cavett interviewed Joplin, she admitted that she had a terrible time touring in Europe, claiming that audiences there are very uptight and don’t get down. She also revealed that she was a big fan of Tina Turner, saying that she was an incredible singer, dancer and show woman. Joplin and Turner also performed together on at least one occasion at Madison Square Garden.
I Got Dem Ol’ Kozmic Blues Again Mama!
The Kozmic Blues album, released in September 1969, was certified gold later that year, but did not match the success of Cheap Thrills. Reviews of the new group were mixed. However, the recording quality and engineering of the record as well as the musicianship were considered superior to her previous releases, and some music critics argued that the band was working in a much more constructive way to support Joplin’s sensational vocal talents. Joplin wanted a horn section similar to that featured in the Chicago Transit Authority; her voice had the dynamic qualities and range not to be overpowered by the brighter horn sound.
Some music critics, including Ralph J. Gleason of the San Francisco Chronicle, were negative. Gleason wrote that the new band was a “drag” and Joplin should “scrap” her new band and “go right back to being a member of Big Brother…(if they’ll have her).” Other reviewers, such as reporter Carl Bernstein of the Washington Post, generally ignored the band’s flaws and devoted entire articles to celebrating the singer’s magic. In general the press concentrated more on her leaving Big Brother rather than the qualities of the new recording.
Columbia Records released “Kozmic Blues” as a single, which peaked at #41 on the Billboard Hot 100, and a live rendition of “Raise Your Hand” was released in Germany and became a top ten hit there. Containing other hits like “Try (Just a Little Bit Harder),” “To Love Somebody,” and “Little Girl Blue,” I Got Dem Ol’ Kozmic Blues Again Mama! reached No. 5 on the Billboard 200 soon after its release.
Joplin appeared at Woodstock starting at approximately 2:00 a.m. on Sunday, August 17, 1969. She followed Creedence Clearwater Revival. Despite her reportedly not even knowing of the festival’s existence until a few days earlier, the Woodstock promoters advertised her as a headliner. She thus became one of the main attractions of the historic concert. Her friend Peggy Caserta claims in her book Going Down With Janis(1973) that she had encouraged a reluctant Joplin to perform at Woodstock.
Joplin informed her band that they would be performing at the concert as if it were just another gig. On Saturday afternoon, when she and the band were flown by helicopter with the pregnant Joan Baez and her mother from a nearby motel to the festival site and Joplin saw the enormous crowd, she instantly became incredibly nervous and giddy. Upon landing and getting off the helicopter, Joplin was approached by reporters asking her questions. She deferred them to Caserta as she was too excited to speak. Initially Joplin was eager to get on the stage and perform, but she kept getting delayed as bands were contractually obliged to perform before her. Faced with a ten-hour wait after arriving at the backstage area, she shot heroin with Caserta and was drinking alcohol, so by the time she hit the stage, she was “three sheets to the wind” (drunk). During her performance, her voice became slightly hoarse and wheezy and she found it hard to dance.
Throughout her performance she frequently spoke to the crowd, asking them if they had everything they needed and if they were staying stoned. She pulled through, however, and the audience was so pleased they cheered her on for an encore, to which she replied and sang “Ball and Chain.” Her performances of “Kozmic Blues” and “Work Me, Lord” at Woodstock are notable, though her voice breaks while she sings.
Pete Townshend, who performed with The Who later in the same morning after Joplin finished, witnessed her performance and said the following in his 2012 memoir: “She had been amazing at Monterey, but tonight she wasn’t at her best, due, probably, to the long delay, and probably, too, to the amount of booze and heroin she’d consumed while she waited. But even Janis on an off-night was incredible.”
Janis remained at Woodstock for the remainder of the festival. She is said[by whom?] to have really enjoyed Sly and The Family Stone‘s performance immediately after hers. Starting at approximately 3:00 a.m. on Monday, August 18, Joplin was among many Woodstock performers who stood in a circle behind Crosby, Stills & Nash during their performance, which was the first time anyone at Woodstock ever had heard that new group’s music. This information was published by David Crosby in 1988. Later in the morning of August 18, Joplin and Joan Baez sat in Joe Cocker‘s van and witnessed Hendrix’s close-of-show performance, according to Baez’s 1989 memoir And a Voice to Sing With.
Still photographs in color show Joplin backstage with Grace Slick the day after Joplin’s performance, wherein Joplin appears to be very happy. Joplin was ultimately unhappy with her performance, however, and blamed Caserta. Her singing was not included (by her own insistence) in the documentary film or the soundtrack, Woodstock: Music from the Original Soundtrack and More, although the 25th anniversary director’s cut of Woodstock includes her performance of “Work Me, Lord.” The documentary film of the festival that was released to theaters in 1970 includes, on the left side of a split screen, 37 seconds of footage of Joplin and Caserta walking toward her dressing room tent.
Laura Joplin, Janis’s younger sister, said in an interview that her sister went straight to her parents in Port Arthur, Texas, following Woodstock. She was incredibly vibrant and happy after coming home and really loved the festival. She told her family how great it was, but her mother and father remained distant on the subject as they did not really understand the hippie movement.
Madison Square Garden
In addition to Woodstock, Joplin also had problems at Madison Square Garden in 1969. Biographer Myra Friedman said she witnessed a duet Joplin sang with Tina Turner during a concert by The Rolling Stones at the Garden on Thanksgiving Day. Friedman said Joplin was “so drunk, so stoned, so out of control, that she could have been an institutionalized psychotic rent by mania.” During a Garden concert where she got solo billing on December 19, some observers believed she tried to incite the audience to riot. For part of this concert she was joined onstage by Johnny Winter and Paul Butterfield.
Joplin told rock journalist David Dalton that Garden audiences watched and listened to “every note [she sang] with ‘Is she gonna make it?’ in their eyes.” In her interview with Dalton she added that she felt most comfortable performing at small, cheap venues in San Francisco that were associated with the counterculture. At the time of this June 1970 interview, she had already performed in the Bay Area for what turned out to be the last time. Sam Andrew, the lead guitarist who had left Big Brother with Joplin in December 1968 to form her back-up band, quit in late summer 1969 and returned to Big Brother. At the end of the year, the Kozmic Blues Band broke up. Their final gig with Joplin was the one at Madison Square Garden with Winter and Butterfield.
Full Tilt Boogie Band
In February 1970, Joplin traveled to Brazil, where she stopped her drug and alcohol use. She was accompanied on vacation there by her friend Linda Gravenites, who had designed the singer’s stage costumes from 1967 to 1969. Joplin was romanced by a fellow American tourist named David (George) Niehaus, who was traveling around the world. A Joplin biography written by her sister Laura said, “David was an upper-middle-class Cincinnati kid who had studied communications at Notre Dame. … [and] had joined the Peace Corps after college and worked in a small village in Turkey. … He tried law school, but when he met Janis he was taking time off.” Niehaus and Joplin were photographed by the press at Rio Carnival in Rio de Janeiro. Gravenites also took color photographs of the two during their Brazilian vacation. According to Joplin biographer Ellis Amburn, in Gravenites’ snapshots they “look like a carefree, happy, healthy young couple having a tremendously good time.”Rolling Stone magazine interviewed Joplin during an international phone call, quoting her: “I’m going into the jungle with a big bear of a beatnik named David Niehaus. I finally remembered I don’t have to be on stage twelve months a year. I’ve decided to go and dig some other jungles for a couple of weeks.” Amburn added in 1992, “Janis was trying to kick heroin in Brazil, and one of the nicest things about George was that he wasn’t into drugs.”
Joplin began using heroin again when she returned to the United States. Her relationship with Niehaus soon ended because of him witnessing her shooting drugs at her new home inLarkspur, California, her romantic relationship with Peggy Caserta, who also was an intravenous addict, and her refusal to take some time off work and travel the world with him.Around this time she formed her new band, the Full Tilt Boogie Band. The band was composed mostly of young Canadian musicians and featured an organ, but no horn section. Joplin took a more active role in putting together the Full Tilt Boogie Band than she did with her prior group. She was quoted as saying, “It’s my band. Finally it’s my band!”
The Full Tilt Boogie Band began touring in May 1970. Joplin remained quite happy with her new group, which received mostly positive feedback from both her fans and the critics.Prior to beginning a summer tour with Full Tilt Boogie, she performed in a reunion with Big Brother at the Fillmore West in San Francisco on April 4, 1970. Recordings from this concert were included in an in-concert album released posthumously in 1972. She again appeared with Big Brother on April 12 at Winterland where she and Big Brother were reported to be in excellent form. It was around this time that Joplin began wearing multi-coloured feather boas in her hair. By the time she began touring with Full Tilt Boogie, Joplin told people she was drug-free, but her drinking increased.
From June 28 to July 4, 1970, Joplin and Full Tilt Boogie joined the all-star Festival Express train tour through Canada, performing alongside Buddy Guy, The Band, Ten Years After, Grateful Dead, Delaney and Bonnie, Eric Andersen, and Ian & Sylvia. They played concerts in Toronto, Winnipeg and Calgary. Janis jammed with the other performers on the train and her performances on this tour are considered to be among her greatest.
Joplin persuaded The Band, who originally did not want to perform, to do so, telling them it was going to be a great party.
Joplin headlined the festival on all three nights. At the last stop in Calgary, Janis took to the stage with Jerry Garcia while her band was tuning up. She told the audience how great the tour was and presented the organisers with a case of tequila. She then burst into a two-hour set, starting with “Tell Mama.” Throughout this performance, Janis went into several banters where she spoke about her failed love life. She finished the night with long versions of “Get It While You Can” and “Ball and Chain.”
Footage of her performance of the song “Tell Mama” in Calgary became an MTV video in the early 1980s and the song was included on the 1982 Farewell Song album. The audio of other Festival Expressperformances was included on that 1972 Joplin In Concert album. Video of the performances was included on the Festival Express DVD. Some of her full performances of Festival Express exist, although all the footage has yet to be released. In the “Tell Mama” video shown on MTV in the 1980s, Joplin wore a psychedelically colored loose-fitting costume and feathers in her hair. This was her standard stage costume in the spring and summer of 1970. She chose the new costumes after her friend and designer, Linda Gravenites (whom Joplin had praised in the May 1968 issue of Vogue), cut ties with Joplin shortly after their return from Brazil, due largely to Joplin’s continued use of heroin.
During the Festival Express tour, Joplin was accompanied by Rolling Stone writer David Dalton, who later wrote several articles and two books on Joplin. She told Dalton:
I’m a victim of my own insides. There was a time when I wanted to know everything … It used to make me very unhappy, all that feeling. I just didn’t know what to do with it. But now I’ve learned to make that feeling work for me. I’m full of emotion and I want a release, and if you’re on stage and if it’s really working and you’ve got the audience with you, it’s a oneness you feel.
Among her last public appearances were two broadcasts of The Dick Cavett Show. In a June 25, 1970 appearance, she announced that she would attend her ten-year high-school class reunion. When asked if she had been popular in school, she admitted that when in high school, her schoolmates “laughed me out of class, out of town and out of the state.” (Joplin had been voted “Ugliest Man on Campus” by frat boys during her university years.) In a subsequent Cavett broadcast on August 3, 1970, Joplin discussed her upcoming performance at the Festival for Peace to be held at Shea Stadium in Queens, New York, three days later.
On August 7, 1970, a tombstone—paid for by both Joplin and Juanita Green, who as a child had done housework for Bessie Smith—was erected at Smith’s previously unmarked grave. On August 8 she performed at the Capitol Theatre in Port Chester, New York. It was there that she first performed “Mercedes Benz“, a song she wrote that day in the bar next door.
Joplin’s last public performance, with the Full Tilt Boogie Band, took place on August 12, 1970, at the Harvard Stadium in Boston. The Harvard Crimson gave the performance a positive, front-page review, despite the fact that Full Tilt Boogie had performed with makeshift amplifiers after their regular sound equipment was stolen in Boston.
Joplin attended her high-school reunion on August 14, accompanied by fellow musician and friend Bob Neuwirth, road manager John Cooke, and her sister Laura, but it was reportedly an unhappy experience for her. Joplin held a press conference in Port Arthur during her reunion visit. Rolling Stone journalist Chet Flippo reported that she wore enough jewelry for a “Babylonian whore.” When asked by a reporter if she ever entertained at Thomas Jefferson High School when she was a student there, Joplin replied, “Only when I walked down the aisles.” Joplin denigrated Port Arthur and the classmates who had humiliated her a decade earlier.
During late August, September and early October 1970, Joplin and her band rehearsed and recorded a new album in Los Angeles with producer Paul A. Rothchild, who had produced recordings for the Doors. Joplin died before all the tracks were fully completed, but there was enough usable material to compile a long-playing record.
The result of the sessions was the posthumously released Pearl (1971). It became the biggest-selling album of her career and featured her biggest hit single, a cover of Kris Kristofferson‘s “Me and Bobby McGee.” Kristofferson had been Joplin’s lover in the spring of 1970. The opening track, “Move Over,” was written by Joplin, reflecting the way that she felt men treated women in relationships. Also included was the social commentary of the a cappella “Mercedes Benz,” written by Joplin, Bob Neuwirth and Beat poet Michael McClure. The track on the album features the first and only take that Joplin recorded. The track “Buried Alive in the Blues,” to which Joplin had been scheduled to add her vocals on the day she was found dead, was included as an instrumental. In 2003, Pearl was ranked No. 122 on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time”.
Joplin checked into the Landmark Motor Hotel in Hollywood on August 24, 1970, near Sunset Sound Recorders, where she began rehearsing and recording her album. During the sessions, Joplin continued a relationship with Seth Morgan, a 21-year-old UC Berkeley student, cocaine dealer and future novelist who had visited her new home in Larkspur in July and August. She and Morgan were engaged to be married in early September even though he visited Sunset Sound Recorders for just eight of Joplin’s many rehearsals and sessions. Morgan later told biographer Myra Friedman that, as a non-musician, he had felt excluded while in the studio. Instead, he stayed at Joplin’s Larkspur home while she stayed alone at the Landmark, although several times she visited Larkspur to be with him and to check the progress of renovations she was having done on the house. She told her construction crew to design a carport to be shaped like a flying saucer, according to biographer Ellis Amburn, the concrete foundation for which was poured the day before she died.
Peggy Caserta claimed in her 1973 book Going Down With Janis that she and Joplin had decided mutually in April 1970 to stay away from each other to avoid enabling each other’s drug use. Caserta, a formerDelta Air Lines stewardess and owner of one of the first clothing boutiques in the Haight Ashbury, said that by September 1970, she was smuggling cannabis throughout California and had checked into the Landmark Motor Hotel because it attracted drug users. For approximately the first two weeks of Joplin’s stay at the Landmark, she did not know Caserta was in Los Angeles. Joplin learned of Caserta’s presence at the Landmark from a heroin dealer who made deliveries there. Joplin begged Caserta for heroin and when she refused, Joplin reportedly admonished her by saying, “Don’t think if you can get it, I can’t get it.” Within a few days Joplin became a regular customer of the same heroin dealer.
Joplin’s manager, Albert Grossman, and his assistant/publicist Myra Friedman had staged an intervention with Joplin the previous winter while Joplin was in New York. In September 1970, Grossman and Friedman, who worked out of a New York office, knew Joplin was staying at a Los Angeles hotel, but they were unaware that it was a haven for drug users and dealers. Grossman and Friedman knew during Joplin’s lifetime that her friend Caserta, whom Friedman met during the New York sessions for Cheap Thrills and on later occasions, used heroin. During the many long-distance telephone conversations that Joplin and Friedman had in September 1970 and on October 1, Joplin never mentioned Caserta, and Friedman assumed Caserta had been out of Joplin’s life for a while. Friedman, who had more time than Grossman to monitor the situation, never visited California. She thought Joplin sounded on the phone like she was less depressed than she had been over the summer.
When Joplin was not at Sunset Sound Recorders, she liked to drive her Porsche over the speed limit “on the winding part of Sunset Blvd.,” according to a statement made by her attorney Robert Gordon in 1995 at theRock and Roll Hall of Fame induction ceremony. Friedman wrote that the only Full Tilt Boogie member who rode as her passenger, Ken Pearson, often hesitated to join her, though he did on the night she died. He was not interested in experimenting with hard drugs.
On September 26, 1970, Joplin recorded vocals for “Half Moon” and “Cry Baby.” Then Full Tilt Boogie recorded the instrumental track for “Buried Alive in the Blues.” The session ended with Joplin, organist Ken Pearson and drummer Clark Pierson making a special one-minute recording as a birthday gift to John Lennon. Joplin was among several singers who had been contacted by Yoko Ono with a request for a taped greeting for Lennon’s 30th birthday, on October 9. Joplin, Pearson and Pierson chose the Dale Evans composition “Happy Trails” as part of the greeting. Lennon told Dick Cavett on-camera the following year that Joplin’s recorded birthday wishes arrived at his home after her death.
The last recording Joplin completed was on October 1, 1970—”Mercedes Benz.” On Saturday, October 3, Joplin visited Sunset Sound Recorders to listen to the instrumental track for Nick Gravenites‘s song “Buried Alive in the Blues,” which the band had recorded one week earlier. She and Paul Rothchild agreed she would record the vocal the following day. At some point on Saturday, she learned by telephone to her dismay that Seth Morgan had met other women at a Marin County, California restaurant, driven them to her home and was shooting pool with them using her pool table. People at Sunset Sound Recorders overheard Joplin expressing anger about the state of her relationship with Morgan, as well as joy about the progress of the sessions. She and band member Ken Pearson later left the studio and went toBarney’s Beanery for drinks. After midnight, Joplin drove him and a fan back to the Landmark Motor Hotel.
On Sunday, October 4, 1970, producer Paul Rothchild became concerned when Joplin failed to show up at Sunset Sound Recorders for a recording session. Full Tilt Boogie‘s road manager, John Cooke, drove to the Landmark Motor Hotel in Hollywood where Joplin was staying. He saw Joplin’s psychedelically painted Porsche 356C Cabriolet in the parking lot. Upon entering Joplin’s room (#105), he found her dead on the floor beside her bed. The official cause of death was an overdose of heroin, possibly compounded by alcohol. Cooke believes that Joplin had accidentally been given heroin that was much more potent than normal, as several of her dealer’s other customers also overdosed that week. She was cremated.
Peggy Caserta and Seth Morgan had both failed to meet Joplin the Friday immediately prior to her death, October 2. She had been expecting both of them to keep her company that night. According to the book Going Down With Janis, Joplin was saddened that neither of her friends visited her at the Landmark Motor Hotel as they had promised. During the 24 hours Joplin lived after this disappointment, Caserta did not phone her to explain why she had failed to show up. Caserta admitted to waiting until late Saturday night to dial the Landmark switchboard, only to learn that Joplin had instructed the desk clerk to get rid of all her incoming phone callers after midnight.Morgan did speak to Joplin on the telephone within 24 hours of her death, but it is not known whether he admitted to her that he had broken his promise.
Joplin’s will funded $2,500 to throw a wake party in the event of her demise. The party, which took place October 26, 1970, at the Lion’s Share in San Anselmo, California, was attended by Joplin’s sister Laura, fiancé Seth Morgan, and close friends, including tattoo artist Lyle Tuttle, Bob Gordon, Jack Penty, and road manager Cooke.
Joplin’s death in October 1970 at the age of 27 stunned her fans and shocked the music world, especially when coupled with the death just sixteen days earlier of another rock icon, Jimi Hendrix, also at age 27. Music historian Tom Moon wrote that Joplin had “a devastatingly original voice.” Music columnist Jon Pareles of the New York Times wrote that Joplin as an artist was “overpowering and deeply vulnerable.” Author Megan Terry claimed that Joplin was the female version of Elvis Presley in her ability to captivate an audience.
In 1973, a book about Joplin by her publicist Myra Friedman was excerpted in many newspapers. At the same time, Going Down With Janis by Peggy Caserta attracted a lot of attention, with its provocative title referring to her performing a sex act with Joplin while they were high on heroin in September 1970. Joplin’s bandmate Sam Andrew would later describe Caserta as “halfway between a groupie and a friend.”According to a statement in the early 1990s by a close friend of Caserta and Joplin, Caserta’s book angered the Los Angeles heroin dealer she described in detail, including the make and model of his car. According to Ellis Amburn, in 1973 a “carful of dope dealers” visited a Los Angeles lesbian bar Caserta had been frequenting since Joplin was alive. Amburn quoted Caserta’s friend Kim Chappell, who was in the alley behind the bar: “I was stabbed because, when Peggy’s book came out, her dealer, the same one who’d given Janis her last fix, didn’t like it that he was referred to and was out to get Peggy. He couldn’t find her, so he went for her lover. When they realized who I was, they felt that my death would also hit Peggy, and so they stabbed me.” Despite being “stabbed three times in the chest, puncturing both lungs,” Chappell eventually recovered.
According to biographers, Peggy Caserta was one of many friends of Joplin who did not become clean and sober until a very long time after the singer’s death, while others died from overdoses. Big Brother guitarist James Gurley “got clean and sober in 1984,” wrote Ellis Amburn. Caserta survived “a near-fatal OD in December 1995,” wrote Alice Echols. In 2000, Caserta appeared on-camera for a segment about Joplin on 20/20.
Joplin’s body art, with a wristlet and a small heart on her left breast, by the San Francisco tattoo artist Lyle Tuttle, was an early moment in the popular culture’s acceptance of tattoos as art. Another trademark was her flamboyant hair styles, often including colored streaks and accessories such as scarves, beads and feathers. When in New York City, Joplin, often in the company of actor Michael J. Pollard, frequented Limbo onSt. Mark’s Place. Joplin, well known to the store’s employees, made a practice of putting aside vintage and other one-of-a-kind garments she favored on stage and off.
The Mamas & the Papas 1971 song “Pearl” from their People Like Us album was a tribute. Leonard Cohen‘s 1974 song “Chelsea Hotel #2” is about Joplin. Likewise, lyricist Robert Hunter has commented thatJerry Garcia‘s “Birdsong” from his first solo album, Garcia (1972), is about Joplin and the end of her suffering through death.Mimi Farina‘s composition “In the Quiet Morning,” most famously covered by Joan Baez on her 1972 Come from the Shadows album, was a tribute to Joplin. Another song by Baez, “Children of the Eighties,” mentioned Joplin. A 1978 Serge Gainsbourg-penned song in French by English singerJane Birkin, “Ex fan des sixties” references Joplin alongside other disappeared “idols” such as Jimi Hendrix, Brian Jones or Marc Bolan. When Joplin was alive, Country Joe McDonald released a song called “Janis” on his band’s album I-Feel-Like-I’m-Fixin’-to-Die (1967).
You know I made thirty-five albums, they bootlegged seventy. Oh, everybody took a chunk of me. And yesterday I went to see Janis Joplin’s film here. And what distressed me the most, and I started to write a song about it, but I decided you weren’t worthy. Because I figured that most of you are here for the festival. Anyway the point is it pained me to see how hard she worked. Because she got hooked into a thing, and it wasn’t on drugs. She got hooked into a feeling and she played to corpses.
Simone also included Joplin in her song “Stars,” and opened her act with a rendition of “Little Girl Blue.”
The 1979 film The Rose was loosely based on Joplin’s life. Originally planned to be titled Pearl—Joplin’s nickname, and the title of her last album—the film was fictionalized after her family declined to allow the producers the rights to her story.Bette Midler earned a nomination for the Academy Award for Best Actress for her performance.
In 1992, the first major biography of Janis in two decades, Love, Janis, authored by her younger sister, Laura Joplin, was published. In an interview, Laura stated that Janis enjoyed being on the Dick Cavett Show and that Janis while growing up in Texas had difficulties with some people at school, but not the entire school. Laura stated that Janis was really enthusiastic after performing at Woodstock in 1969.
Joplin was inducted into the Rock and Roll Hall of Fame in 1995, and was given a Grammy Lifetime Achievement Award in 2005. In November 2009, the Hall of Fame and museum honored her as part of its annual American Music Masters Series. Among the artifacts at the Rock and Roll Hall of Fame Museum Exhibition are Joplin’s scarf and necklaces, her 1965 Porsche 356 Cabriolet with psychedelically designed painting, and a sheet of LSD blotting paper designed by Robert Crumb, designer of the Cheap Thrills cover. Her Porsche was recently auctioned off on an episode of “chasing classic cars”. It sold for $1.6 million.She was the honoree at the Rock Hall’s American Music Master concert and lecture series for 2009.
In the late 1990s, the musical play Love, Janis was created and directed by Randal Myler, with input from Janis’s younger sister Laura plus Big Brother guitarist Sam Andrew, with an aim to take it to Off Broadway. Opening in the summer of 2001 and scheduled for only a few weeks of performances, the show won acclaim and packed houses and was held over several times, the demanding role of the singing Janis attracting rock vocalists from relative unknowns to pop stars Laura Branigan and Beth Hart. A national tour followed.
In 2013, Washington’s Arena Stage featured a production of A Night with Janis Joplin, starring Mary Bridget Davies. In it, Joplin puts on a concert for the audience, while telling stories of her past inspirations includingOdetta, Aretha Franklin, and others. It got on tour in 2016.
Joplin was awarded with the 2,510th star of the Hollywood Walk of Fame on November 4, 2013 for her contributions to the music industry. Her star is located at 6752 Hollywood Boulevard, in front of Musicians Institute.
On August 8, 2014, the United States Postal Service revealed a commemorative stamp honoring Janis Joplin, as part of its Music Icons Forever Stamp series during a first-day-of-issue ceremony at the Outside Lands Music Festival at Golden Gate Park.
Joplin had a profound influence on many singers. Florence Welch of Florence and The Machine spoke of Joplin’s impact on her own musical prowess in an interview for Why Music Matters in a commercial against piracy:
I learnt about Janis from an anthology of female blues singers. Janis was a fascinating character who bridged the gap between psychedelic blues and soul scenes. She was so vulnerable, self-conscious and full of suffering. She tore herself apart yet on stage she was totally different. She was so unrestrained, so free, so raw and she wasn’t afraid to wail. Her connection with the audience was really important. It seems to me the suffering and intensity of her performance go hand in hand. There was always a sense of longing, of searching for something. I think she really sums up the idea that soul is about putting your pain into something beautiful.
Stevie Nicks considers Joplin one of her idols, saying:
You could say that being yelled at by Janis Joplin was one of the great honors of my life. Early in my career, Lindsey Buckingham and I were in a band called Fritz. There were two gigs we played in San Francisco that changed everything for me – One was opening up for Jimi Hendrix, who was completely magical. The other was the time that we opened up for Janis at the San Jose Fairgrounds, around 1970.
It was a hot summer day, and things didn’t start off well because the entire show was running late. That meant our set was running over. We were onstage and going over pretty well, when I turned and saw a furious Janis Joplin on the side of the stage, yelling at us. She was screaming something like, “What the fuck are you assholes doing? Get the hell off of my stage.” Actually, she might have even been a little cruder than that — it was hard to hear.
But then Janis got up on that stage with her band, and this woman who was screaming at me only moments before suddenly became my new hero. Janis Joplin was not what anyone would call a great beauty, but she became beautiful because she made such a powerful and deep emotional connection with the audience. I didn’t mind the feathers and the bell-bottom pants either. Janis didn’t dress like anyone else, and she definitely didn’t sing like anyone else.
Janis put herself out there completely, and her voice was not only strong and soulful, it was painfully and beautifully real. She sang in the great tradition of the rhythm & blues singers that were her heroes, but she brought her own dangerous, sexy rock & roll edge to every single song. She really gave you a piece of her heart. And that inspired me to find my own voice and my own style.
Janis Joplin recorded four albums in her four-year career. The first two albums were recorded with and credited to Big Brother and the Holding Company and the later two were recorded with different backing bands, and released as solo albums. Previously unreleased studio and live material, including early performances, as well as Joplin’s greatest hits, have been released on several posthumous compilations.
- Big Brother and the Holding Company (1967)
- Cheap Thrills (1968) 2x Platinum
- I Got Dem Ol’ Kozmic Blues Again Mama! (1969) Platinum
- Pearl (1971) 4x Platinum
- Full discography
- Big Brother and the Holding Company
|Big Brother and the Holding Company||1967||Mainstream Records / Columbia||Re-released 1967 by Columbia with two extra tracks|
|Cheap Thrills||1968||Columbia||2x Multi-Platinum Recording Industry Association of America|
|Live at Winterland ’68||1998||Columbia Legacy||Posthumous release of live material|
|Live at the Carousel Ballroom 1968||2012||Legacy Recordings||Posthumous release of live material|
- Kozmic Blues Band
|I Got Dem Ol’ Kozmic Blues Again Mama!||1969||Columbia||Platinum RIAA|
|The Woodstock Experience||2009||Legacy Recordings||Posthumous release of live material|
|Pearl||1971||Columbia||posthumous, 4x Multi-Platinum RIAA|
- Big Brother & the Holding Company / Full Tilt Boogie
|In Concert||1972||Legacy CK65786||Posthumous release of live material|
- Later collections
|Janis Joplin’s Greatest Hits||1973||Columbia||ASIN B00000K2W1, 7x Multi-Platinum RIAA|
|Janis||1975||CBS||2 discs, Gold RIAA|
|Anthology||1980||CBS||2 discs; Europe only|
|Farewell Song||1982||Columbia Records||ASIN: B000W44S8E|
|Cheaper Thrills||1984||Fan Club||ASIN: B000LYA9X8|
|Janis||1993||Columbia Legacy||3 discs – ASIN: B00000286P|
|18 Essential Songs||1995||Columbia Legacy||ASIN: B000002B1A, Gold RIAA|
|Live at Woodstock: August 19, 1969||1999|
|Box of Pearls||1999||Sony Legacy||5 Discs – ASIN: B0009YNSK6|
|Super Hits||2000||Sony||ASIN: B00004T1E6|
|Essential Janis Joplin||2003||Sony||ASIN: B00007MB6Y|
|The Collection||2004||Columbia Legacy||3 discs, ASIN: B000BM6ATW; the three studio albums released 1968–1971 plus bonus tracks|
|Very Best of Janis Joplin||2007||Columbia||ASIN: B000026A35; Europe only|
(as member of Big Brother & The Holding Company)
|Year||Album||US Top 200||US R&B|
|1967||Big Brother and the Holding Company||60||28|
(as a solo artist)
|Year||Album||US Top 200||US R&B|
|1969||I Got Dem Ol’ Kozmic Blues Again Mama!||5||23|
|1972||Joplin In Concert||4||—|
|1973||Janis Joplin’s Greatest Hits||37||—|
(as member of Big Brother & The Holding Company)
|Year||Single||US Hot 100|
|1968||“Down on Me“||43|
|“Piece of My Heart“||12|
(as a solo artist)
|Year||Single||US Hot 100|
|1971||“Me and Bobby McGee“||1|
|“Get It While You Can”||78|
|1972||“Down on Me (Live)”||91|
- Monterey Pop (1968)
- Petulia (1968)
- Janis Joplin Live in Frankfurt (1969)
- Janis (1974)
- Janis: The Way She Was (1974)
- Comin’ Home (1988)
- Woodstock – The Lost Performances (1991)
- Woodstock: 3 Days of Peace & Music (Director’s Cut) (1994)
- Festival Express (2003)
- Nine Hundred Nights (2004)
- The Dick Cavett Show: Rock Icons (2005) Shout
- Rockin’ at the Red Dog: The Dawn of Psychedelic Rock (2005)
- This is Tom Jones (2007) 1969 appearance on TV show
- Woodstock: 3 Days of Peace & Music (Director’s Cut) 40th Anniversary Edition (2009)
- Janis Joplin with Big Brother: Ball and Chain (DVD) Charly (2009)
- Janis: Little Girl Blue (2015)
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- Bio written by Peter de Blanc that he added to the internet
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- Bromley, David G.; Shinn, Larry D. (1989), Krishna Consciousness in the West, Bucknell University Press, p. 106, ISBN 978-0-8387-5144-2
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- Scroll down 80 percent of the way for citation that John Segraves was an opera buff when he reviewed a Who concert in D.C. in 1969
- “BB: BBBase”. Bbhc.com. Retrieved July 3, 2013.
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- “I Got Dem Ol’ Kozmic Blues Again Mama!”. allmusic. RetrievedJanuary 18, 2016.
- Townshend, Pete (2012). Who I am: a memoir. HarperCollins Publishers. p. 179.
- Crosby, David (1988). Long Time Gone. Doubleday. pp. 161–162.
- Baez, Joan (1989). And a Voice to Sing With. Summit Books. pp. 163–166.
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- Albertson, Bessie, p. 277.
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- Anthony DeCurtis, Rolling Stone, September 30, 1999
- Los Angeles Herald Examiner October 5, 1970, front page.
- on YouTube
- Log of Joplin’s recording sessions with dates
- on YouTube
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- Richardson, Derk (April–May 1986), “Books in Brief”, Mother Jones.
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- on YouTube
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- “Leonard Cohen on BBC Radio”. webheights.net.
- Box of Rain: Lyrics 1965–1993 by Robert Hunter, Penguin Books, 1993
- Performed by Joan Baez in her 1972 album Come from the Shadows. Baez wrote the song “Blessed Are…,” from her 1971 album of the same name, as a tribute to Joplin.
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- Janis Joplin US Stamp Gallery
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- CD Liner Notes – Big Brother and the Holding Company’s (Joplin’s band) Live at Winterland ’68
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- Biography at The Handbook of Texas Online
- Janis Joplin’s Kozmic Blues – janisjoplin.net
- Re-introducing Janis Joplin – slideshow by The New York Times
- Artwork created by Janis Joplin, from her family
- Dave Archer. “Janis Joplin”. DaveArcher.com. Retrieved January 13, 2013.
- “Wild Ride with Janis” – an encounter with Janis Joplin at the wheel
- FBI file on Janis Joplin
- “Janis Joplin”. Find a Grave. Retrieved June 12, 2013.
- Janis Joplin: How She Became a Music Icon