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Janis Joplin
Occupation	Singer-Songwriter

Janis Lyn Joplin (January 19, 1943 – October 4, 1970) was an American blues-influenced rock singer and occasional songwriter with a distinctive voice. Joplin released four albums as the frontwoman for several bands from 1967 to a posthumous release in 1971.

Life and career

Early life

Joplin was born at St. Mary Hospital in Port Arthur, Texas. The daughter of Seth Joplin, a worker at Texaco, she had two younger siblings, Michael and Laura. She grew up listening to blues musicians such as Bessie Smith, Odetta, and Big Mama Thornton and singing in the local choir. While at Thomas Jefferson High School, she was mostly shunned. Primarily a painter, it was in high school that she first began singing blues and folk music with friends. Joplin graduated in 1960 and attended the University of Texas in Austin, though she never attained a degree. One persistent story is of her being voted the winner of a Fraternity contest "The Ugliest Man on Campus."

Cultivating a rebellious manner that could be viewed as "liberated" — the women's liberation movement was still in its infancy at this time — Joplin styled herself in part after her female blues heroines, and in part after the beat poets. She left Texas for San Francisco in 1963, lived in North Beach and in Haight-Ashbury as well as Corte Madera. Around this time her drug use began to increase, and she acquired a reputation as a "speed freak" and occasional heroin user. She also used other intoxicants. She was a heavy drinker throughout her career, and her trademark beverage was Southern Comfort.

File:JanisJoplin60s.jpg

Janis Joplin on stage.

Like many other female singers of the era, Joplin's feisty public image was at odds with her real personality. The book Love, Janis, written by her sister, has done much to further the reassessment of her life and work and reveals the private Joplin to have been a highly intelligent, articulate, shy and sensitive woman who was devoted to her family.

Big Brother and the Holding Company

Joplin again moved to San Francisco in 1966, where her bluesy vocal style saw her join Big Brother and The Holding Company, a band that was gaining some renown among the nascent hippie community in Haight-Ashbury. The band signed a deal with independent Mainstream Records and recorded an eponymously titled album in 1967. However, the lack of success of their early singles led to the album being withheld until after their subsequent success.

The band's big break came with their performance at the Monterey Pop Festival, which included a version of Big Mama Thornton's "Ball and Chain" and featured a barnstorming vocal by Joplin. (The D.A. Pennebaker documentary Monterey Pop captured Cass Elliot in the crowd silently mouthing "Wow, that's really heavy" during Joplin's performance.) Their 1968 album Cheap Thrills featured more raw emotional performances and together with the Monterey performance, it made Joplin into one of the leading musical stars of the late Sixties. It also produced Joplin's breakthrough hit single, "Piece of My Heart", whose chorus would be borrowed two years later by Alive N Kickin''s one-hit wonder "Tighter, Tighter".

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Janis Joplin singing, from the cover of the posthumous album Super Hits

Solo career and Woodstock

After splitting from Big Brother, she formed a new backup group, modelled on the classic soul revue bands, named the Kozmic Blues Band, which backed her on I Got Dem Ol' Kozmic Blues Again Mama! (1969: the year she played at Woodstock). That group was indifferently received and soon broke up, and Joplin then formed The Full Tilt Boogie Band. The result was the posthumously released Pearl (1971). It became the biggest selling album of her short career and featured her biggest hit single, the definitive version of Kris Kristofferson's "Me and Bobby McGee", as well as the wry social commentary of the a cappella "Mercedes-Benz", written by Joplin and beat poet Michael McClure.

Among her last public appearances were two broadcasts of The Dick Cavett Show on June 25 and August 3, 1970. On the June 25 show she announced that she would attend her ten-year high school Class reunion, although she admitted that when in high school she had been "laughed out of class, out of school, out of town, out of the state". She made it there, but it would be one of the last decisions of her life and it reportedly proved to be a rather unhappy experience for her.

Death

During the fall 1970 recording sessions for the Pearl album with The Doors and Phil Ochs producer Paul A. Rothchild, Joplin died, aged 27, Her death was caused by an overdose of heroin on October 4, 1970. The last recordings she completed were "Mercedes-Benz" and a birthday greeting for John Lennon on October 1, 1970; Lennon later told Dick Cavett that her taped greeting arrived at his New York home after her death.

She was cremated in the Westwood Village Memorial Park Cemetery in Westwood, California, and her ashes were scattered into the Pacific Ocean. The album Pearl, released six weeks after her death, included a version of Nick Gravenites' song "Buried Alive In The Blues", which was left as an instrumental because Joplin had died before she was able to record her vocal over the backing track.

Not recognized by her hometown during her life, she was remembered much later. In 1988, her life and achievements were showcased and recognized in Port Arthur by the dedication of the Janis Joplin Memorial, with an original bronze, multi-image sculpture of Joplin by Douglas Clark.

The 1979 film The Rose was loosely based on Joplin's life. The lead role earned Bette Midler an Academy Award nomination as Best Actress. In the late 1990s, a musical based on "Love, Janis," was launched, with an aim to take it to Off-Broadway. Opening there 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.

Legacy

File:Janis-Joplin.jpeg

Janis Joplin- 1968 _{The Avalon Ballroom
By Robert Altman}

Joplin is now remembered best for her powerful, sexy and distinctive voice — her rasping, overtone-rich sound was significantly divergent from the soft folk and jazz-influenced styles that were common among many white artists at the time — as well as for her lyrical themes of pain and loss. To many, she personified that period of the Sixties when the San Francisco sound, along with (then considered) outlandish dress and life style jolted the country. Many Joplin fans remember her appearance on the Dick Cavett show with an obviously delighted Dick Cavett.She is mentioned in the book, "Small Steps", a sequal to the hit novel, "Holes". The genuineness of her personality always came across in press interviews, for better or worse.

Joplin's contributions to the rock idiom were long overlooked, but her importance is now becoming more widely appreciated, thanks in part to the recent release of the long-unreleased documentary film Festival Express, which captured her at her very best. Janis's vocal style, her flamboyant dress, her outspokenness and sense of humour, her liberated stance (politically and sexually) and her strident, hard-living "one of the boys" image all combined to create an entirely new kind of female persona in rock.

It can be argued that, prior to Joplin, there was a tendency for solo, white female pop performers to be pigeonholed in to a few broadly defined roles — the gentle, guitar-strumming 'folkie' (e.g. Judy Collins, Joni Mitchell), the virginal 'pop goddess' (e.g. Doris Day, Rosemary Clooney) or the cool, elegantly dressed chanteuse (e.g. Dusty Springfield). As one of the first women to front a fully-fledged rock band, Joplin followed the precedent set by her white, male counterparts in adopting the image, repertoire and performance style of African American blues and rhythm and blues artists, both male and female. In so doing, Joplin was pivotal in redefining what was possible for white female singers in mainstream American popular music.

Alongside Grace Slick of Jefferson Airplane, she pioneered an entirely new range of expression for white women in the previously male-dominated world of post-Beatles rock. It is also notable that, in a very short time, she transcended the role of "chick singer" fronting an all-male band, to being an internationally famous solo star in her own right.

In terms of her visual image, Joplin is also notable as one of the few female performers of her day to regularly wear pants (or slacks), rather than skirts or dresses. Another trademark was her flamboyant hair styles, often including colored streaks and accessories such as scarves, beads and feathers, a style strikingly at odds with the 'regulation' perms or wigs sported by most female singers of the day. It is especially notable that she is probably the only major female pop-rock star of the period who never wore makeup — something that was very striking at a time when the wearing of makeup was de rigueur for female performers.

People have drawn comparisons between Joplin and her close contemporary Jimi Hendrix (with whom it was rumored that she had a tryst in a bathroom stall), who similarly was catapulted to fame by his appearance at Monterey, had a brief, successful career, and who also died from drug-related causes within weeks of Joplin, also at the age of twenty-seven.

Joplin also has been compared with Jim Morrison, another contemporary who died at twenty-seven after a successful and drug-fueled career. She and Morrison also reportedly had an affair.

Gospel According to Janis

There is currently a biographical film in production and scheduled for a 2008 release, about the career of Joplin. The title role is to be played by Zooey Deschanel.

Discography

Big Brother and the Holding Company

Big Brother & the Holding Company (1967, Mainstream Records)
Cheap Thrills (1968, Columbia Records)

Kozmic Blues Band

I Got Dem Ol' Kozmic Blues Again Mama! (1969, Columbia Records)

Full Tilt Boogie

Pearl (posthumous 1971, Columbia Records)

Big Brother & the Holding Company / Full Tilt Boogie

In Concert (1972, Columbia Records)

References

Dick Cavett (2005). The Dick Cavett Show - Rock Icons (1969) (DVD). Shout Factory.

Samples

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External links

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