The 50th Anniversary Of The Summer Of Love, 1967-The “Blues Mama” Of “The Generation Of ‘68”- The Music Of Janis Joplin
CD REVIEW
Janis Joplin: 18 Essential Songs, Janis Joplin with Big Brother and The Holding Company, Columbia Records, 1995
It is virtually a truism that every generation has its own cultural icons, for better or worst. The 1960’s, the time of this reviewer’s “Generation of ‘68”, was no exception. Although there were no official creeds in the matter, in fact we scorned such thinking, a rough translation of what we thought we were about then could be summed up as follows- live fast, live young and live forever. Other, later generations have put their own imprint on that theme although I sense without our basically naïve and hopeful expectations of that phrase. All this is by way of saying that the artist under review, urban white blues and soul singer Janis Joplin, was one of our icons. That she crashed and burned well before her time, and well before forever, only adds poignancy to her fate.
The role of “blues mama” for a generation is certainly no task for the faint-hearted, as Janis’s life, life style, and fame attest to. That she was able to translate the black blues idiom and style of the likes of her idol “Big Mama” Thornton, of necessity, had to take its toll on that tiny hard scrabble Texas-raised body. But that is the fundamental tragedy (and beauty) of the blues. Not only must you ‘pay your dues’ but this genre cannot be faked. If you have not lived a hard scrabble existence, faced the depths of what society has to offer and come out swinging you flat-out cannot convey that message the way it is suppose to be done. Janis could. Other white women blues singers as fine performers as they are, like Tracey Nelson and Rory Block, approximate that sound but there is just a little too much “refinement” in the voice to pass this test.
So what did Janis (and her fellow musicians of Big Brother and The Holding Company who generally rose to the occasion and created great sounds to go with that Joplin voice) leave us? Well, as contained in this above average CD compilation of her work, most of the essential woman’s blues numbers of the 1960’s that will stand the test of time. Not bad, right? Start off, as always, with ‘Big Mama’s” “Ball and Chain” (that blew them away at the Monterrey Pops Festival). Move on to the classic Gershwin tune “Summertime”. Feast on her own “I Need A Man To Love” and “Kozmic Blues”. And close out with Kris Kristofferson’s 1960’s traveling anthem “Me And Booby McGee”. And in between a dozen more memorable tunes. I defy anyone to find a song in this compilation that is less than above average. And that kind of says it all. Janis Joplin’s star burned out far too quickly and those of us from her generation are now coming to terms with the fact that, despite our youthful beliefs, we will not live forever. Her music, however, will.
Ball And Chain lyrics
Sittin’ down by my window,
Honey, lookin’ out at the rain.
Oh, Lord, Lord, sittin’ down by my window,
Baby, lookin’ out at the rain.
Somethin’ came along, grabbed a hold of me, honey,
And it felt just like a ball and chain.
Honey, that’s exactly what it felt like,
Honey, just dragging me down.
And I say, oh, whoa, whoa, now hon’, tell me why,
Why does every single little tiny thing I hold on to go wrong ?
Yeah it goes wrong, yeah.
And I say, oh, whoa, whoa, now babe, tell me why,
Does every thing, every thing.
Hey, here you gone today, I wanted to love you,
I just wanted to hold you, I said, for so long,
Yeah! Alright! Hey!
Love’s got a hold on me, baby,
Feels like a ball and chain.
Now, love’s just draggin’ me down, baby,
Feels like a ball and chain.
I hope there’s someone out there who could tell me
Why the man I love wanna leave me in so much pain.
Yeah, maybe, maybe you could help me, come on, help me!
And I say, oh, whoa, whoa, now hon’, tell me why,
Now tell me, tell me, tell me, tell me, tell me, tell me why, yeah.
And I say, oh, whoa, whoa, whoa, when I ask you,
When I need to know why, c’mon tell me why, hey hey hey,
Here you’ve gone today,
I wanted to love you and hold you
Till the day I die.
I said whoa, whoa, whoa!!
And I say oh, whoa, whoa, no honey
It ain’t fair, daddy it ain’t fair what you do,
I see what you’re doin’ to me and you know it ain’t fair.
And I say oh, whoa whoa now baby
It ain’t fair, now, now, now, what you do
I said hon’ it ain’t fair what, hon’ it ain’t fair what you do.
Oh, here you gone today and all I ever wanted to do
Was to love you
Honey you can still hear me rock and roll the best,
Only it ain’t roll, no, no, no, no, no.
Sittin’ down by my window,
Lookin’ out at the rain.
Lord, Lord, Lord, sittin’ down by my window,
Lookin’ out at the rain, see the rain.
Somethin’ came along, grabbed a hold of me,
And it felt like a ball and chain.
Oh this can’t be in vain
And I’m gonna tell you one more time, yeah, yeah!
And I say oh, whoa whoa, now baby
This can’t be, no this can’t be in vain,
And I say no no no no no no no no, whoa,
And I say whoa, whoa, whoa, whoa, whoa
Now now now now now now now now now no no not in vain
Hey, hope there is someone that could tell me
Hon’, tell me why love is like
Just like a ball
Just like a ball
Baaaaaaalllll
Oh daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy
And a chain.
Yeah.
Call On Me lyrics
Well, baby, when times are bad,
Now call on me, darling, and I’ll come to you.
When you’re in trouble and feel so sad,
Well, call on me, darling, come on call on me, and I’ll help you.
Yeah!
A man and a woman have each other, baby,
To find their way in this world.
I need you, darling, like the fish needs the sea,
Don’t take your sweet, your sweet love from me.
Baby, when you’re down and feel so blue,
Well, no, you won’t drown, darling, I’ll be there too.
You’re not alone, I’m there too,
Whatever your troubles, honey, I don’t care.
A man and a woman have each other, baby,
To find their way in this world.
I need you, darling, like the fish needs the sea,
Don’t take your sweet, sweet love from me!
Please! So baby, when times are bad,
Call on me, darling, just call on me.
I Need A Man To Love lyrics
Whoa, I need a man to love me.
Don’t you understand me, baby ?
Why, I need a man to love.
I gotta find him, I gotta have him like the air I breathe.
One lovin’ man to understand can’t be too much to need.
You know it
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be this loneliness
Baby, surrounding me.
No, no, know it just can’t be
No it just can’t be
There’s got to be some kind of answer.
No it just can’t be
And everywhere I look, there’s none around
No it just can’t be
Whoa, it can’t be
No it just can’t be, oh no!
Whoa, hear me now.
Whoa, won’t you let me hold you ?
Honey, just close your eyes.
Whoa, won’t you let me hold you, dear ?
I want to just put my arms around ya, like the circles going ‘round the sun.
Let me hold you daddy, at least until the morning comes.
Because it
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be this loneliness
Baby, surrounding me.
No, no, no it just can’t be.
No it just can’t be
Oh, baby, baby, baby, baby, just can’t be.
No, no, no
No it just can’t be
And why can’t anyone ever tell me, now ?
No it just can’t be
I wake up one morning, I realize
No it just can’t be
Whoa, it can’t be.
No it just can’t be
Now go!
Whoa, I need a man to love me
Oh, maybe you can help me, please.
Why, I need a man to love.
But I believe that someday and somehow it’s bound to come along
Because when all my dreams and all my plans just cannot turn out wrong.
You know it
Can’t be now Oh no
Can’t be now Oh no
Can’t be now Oh no
Can’t be now Oh no
Can’t be now Oh no
Can’t be just loneliness
Baby, surrounding me
No, no, no, it just can’t be
No it just can’t be
Oh, baby, baby, baby, baby, it just can’t be
No it just can’t be
And who could be foolin’ me ?
No it just can’t be
I’ve got all this happiness
No it just can’t be
Come, come, come on, come on, come on, and help me now.
No it just can’t be
Please, can’t you hear my cry ?
No it just can’t be
Whoa, help ...
The evening of Aug. 12, 1970, was a warm one. Harvard Stadium had been transformed into a concert arena with the addition of rows upon rows of seats onto the field. An estimated 40,000 spectators were crammed inside. After it was discovered that some sound equipment had been stolen, the show was delayed. According to several accounts, the crowd was restless, near rioting.
They were waiting for Janis Joplin.
“Oddly, while we were sitting there—and the crowd was getting into something, it became very smoky and sweet there, let’s put it that way—we could see, straight ahead, the open-scaffolding stage,” says Kevin McElroy, who was seated near the front with his boyfriend, Peter Warrack. “Janis was underneath. And she had a bottle of Southern Comfort, and she was just in a world of her own there. She just was doing what she wanted to do in the moment. After another hour-and-a-half or so—it was really quite a delay—she literally burst onto the stage. It was just electric.”
Two months later, Joplin was dead. That near-disaster concert at Harvard Stadium, it turned out, was her last public performance.
It was a special night for Warrack as well. An amateur photographer who liked to photograph celebrities and collect autographs, he shot almost a whole roll of film from down in the front, a telephoto lens aimed upward at the star as she threw herself across the stage. Concerts weren’t documented as thoroughly back then as they are now, thanks to Instagram and Twitter and a camera on every smartphone, so those 24 black-and-white close-ups are, seemingly, some of the few existing relics of the historic concert.
The Liverpool-born Warrack died in 2008, but nearly his entire collection of photographs—around 15,000—remained unpublished during his lifetime. Until recently they languished in a vast collection of binders in several closets at McElroy’s residence in Boston’s South End. House of Roulx—a Danvers-based operator of an online boutique selling celebrity photos, reproductions of funny sci-fi art and copies of curious old photos—acquired the entire collection this year. Individual prints as well as a limited edition box set of the Joplin series are available for purchase on the House of Roulx website.
“This wasn’t just a guy who was celebrity star-struck who snapped pictures, he was actually a really good photographer,” says House of Roulx’s Jared Gendron. “Because there’s a difference between someone who just runs around snapping pictures paparazzi-style in the 1970s, versus somebody who has that artistic eye.”
Taken together, Warrack’s photographs of Joplin are like a flip-book of the 27-year-old singer that capture a few fleeting, candid moments onstage. They are portraits, really, set against a black background, zoomed in close enough to count the bracelets on her wrist. In one shot, she holds a finger pensively to her lips. In another, she radiates, smiling as she looks over her shoulder. One photo captures her in motion, a blur of sweat and song.
“She was feeling no pain, literally,” says McElroy. “She was interacting with the audience in almost a—well, it wasn’t almost, it was, it was a sexual banter back and forth. They were calling up to her, they wanted her, and she wanted them. At one point in time she says, ‘Yeah, I’ll take you on. One at a time. One at a time.’ That was part of who she was.”
When Joplin died on Oct. 4, 1970, Reuters ran an obituary that spent as much time detailing her boozy, contentious persona as her actual musicianship. In the years since, she has become something of a feminist icon, in addition to a bona fide rock ‘n’ roll legend. Her voice—that gravelly, SoCo-soaked voice—epitomizes the capacity of a rare kind of greatness to translate pain into art.
“I think people today might not understand—you know, Janis was young, she was only 20-odd, and she was one of our current rock stars,” says McElroy. “She was just somebody who was touring, and somebody who was good, and somebody you wanted to see. Over the last 45 years, Janis has become something else, in a way most people who die young do become. And I think young people today would look at Janis and not see her in the same light that we did.”
In McElroy’s telling, Warrack’s work was driven by a fascination with both the glamour of celebrity as well as the humanity behind it. The photographs of Joplin, he says, show a side of her that has been largely erased by her iconic status and all that she symbolizes now.
“I think we see something different when we look back,” says McElroy. “I don’t think we see just Janis herself. [That night] was just Janis, performing. It was wonderful.”
Zack James’ comment June, 2017:
Sometimes you just have to follow the bouncing ball like in those old time sing along cartoons they used to have back in say the 1950s,the time I remember them from, on Saturday afternoon matinees at the old now long gone Stand Theater in my growing up town of North Adamsville. Follow me for a minute here I won’t be long. Earlier this spring my oldest brother, Alex, took attended a conference in San Francisco which he has done periodically for years. While there he noticed an advertisement on a bus for something called the Summer of Love Experience at the de Young Museum in Golden Gate Park. That ad immediately caught his attention he had been out there that year and had participated in those events at the urging of his friend Peter Paul Markin who was something of a holy goof (a Jack Kerouac term of art), a low rent prophet, and a street criminal all in one. When Alex got back to the East after having attended the exhibition he got in contact with me to help him, and the still standing corner boys who also had gone out West at Markin’s urging to put together a tribute booklet honoring Markin and the whole experience.
After completing that project, or maybe while completing it I kept on thinking about the late Hunter S. Thompson who at one time was the driving force behind gonzo journalism and had before his suicide about a decade ago been something of a muse to me. At first my thoughts were about how Thompson would have taken the exhibition at the de Young since a lot of what he wrote about in the 1960s and 1970s was where the various counter-cultural trends were, or were not, going. But then as the current national political situation in America in the Trump Age has turned to crap, to craziness and straight out weirdness I began to think about how Thompson would have handled the 24/7/365 craziness these days since he had been an unremitting searing critic of another President of the United States who also had low-life instincts, one Richard Milhous Nixon.
The intertwining of the two stands came to head recently over the fired FBI director James Comey hearings where he essentially said that the emperor had no clothes. So I have been inserting various Thompson-like comments in an occasional series I am running in various on-line publications-Even The President Of The United States Sometimes Must Have To Stand Naked-Tales From The White House Bunker. And will continue to overlap the two-Summer of Love and Age of Trump for as long as it seems relevant. So there you are caught up. Ifs not then I have included hopefully for the last time the latest cross-over Thompson idea.
************
Zack James comment, Summer of 2017
Maybe it says something about the times we live in, or maybe in this instance happenstance or, hell maybe something in the water but certain things sort of dovetail every now and again. I initially started this commentary segment after having written a longest piece for my brother and his friends as part of a small tribute booklet they were putting together about my and their takes on the Summer of Love, 1967. That event that my brother, Alex, had been knee deep in had always interested me from afar since I was way too young to have appreciated what was happening in San Francisco in those Wild West days. What got him motivated to do the booklet had been an exhibit at the de Young Art Museum in Golden Gate Park where they were celebrating the 50th anniversary of the events of that summer with a look at the music, fashion, photography and exquisite poster art which was created then just as vivid advertising for concerts and “happenings” but which now is legitimate artful expression.
That project subsequently got me started thinking about the late Hunter Thompson, Doctor Gonzo, the driving force behind a new way of looking at and presenting journalism which was really much closer to the nub of what real reporting was about. Initially I was interested in some of Thompson’s reportage on what was what in San Francisco as he touched the elbows of those times having spent a fair amount of time working on his seminal book on the Hell’s Angels while all hell was breaking out in Frisco town. Delved into with all hands and legs the high points and the low, the ebb which he located somewhere between the Chicago Democratic Convention fiasco of the summer of 1968 and the hellish Rollins Stones Altamont concert of 1969.
Here is what is important today though, about how the dots get connected out of seemingly random occurrences. Hunter Thompson also made his mark as a searing no holds barred mano y mano reporter of the rise and fall, of the worthy demise of one Richard Milhous Nixon at one time President of the United States and a common low-life criminal of ill-repute. Needless to say today, the summer of 2107, in the age of one Donald Trump, another President of the United States and common low-life criminal begs the obvious question of what the sorely missed Doctor Gonzo would have made of the whole process of the self-destruction of another American presidency, or a damn good run at self-destruction. So today and maybe occasionally in the future there will be some intertwining of commentary about events fifty years ago and today. Below to catch readers up to speed is the most recent “homage” to Hunter Thompson. And you too I hope will ask the pertinent question. Hunter where are you when we need, desperately need, you.
*******
Zack James comment, Summer of 2017
You know it is in a way too bad that “Doctor Gonzo”-Hunter S Thompson, the late legendary journalist who broke the back, hell broke the neck, legs, arms of so-called objective journalism in a drug-blazed frenzy back in the 1970s when he “walked with the king”’ is not with us in these times. (Walking with the king not about walking with any king or Doctor King but being so high on drugs, your choice, that commin clay experiences fall by the way side. In the times of this 50th anniversary commemoration of the Summer of Love, 1967 which he worked the edges of while he was doing research (live and in your face research by the way) on the notorious West Coast-based Hell’s Angels. His “hook” through Ken Kesey and the Merry Pranksters down in Kesey’s place in La Honda where many an “acid test” took place, where many walked with the king, if you prefer, and where for a time the Angels, Hunter in tow, were welcomed. He had been there in the high tide, when it looked like we had the night-takers on the run and later as well when he saw the ebb tide of the 1960s coming a year or so later although that did not stop him from developing the quintessential “gonzo” journalism fine-tuned with plenty of dope for which he would become famous before the end, before he took his aging life and left Johnny Depp and company to fling his ashes over this good green planet. He would have “dug” the exhibition, maybe smoked a joint for old times’ sake (oh no, no that is not done in proper society, in high art society these days) at the de Young Museum at the Golden Gate Park highlighting the events of the period showing until August 20th of this year.
Better yet he would have had this Trump thug bizarre weirdness wrapped up and bleeding from all pores just like he regaled us with the tales from the White House bunker back in the days when Trump’s kindred one Richard Milhous Nixon, President of the United States and common criminal was running the same low rent trip before he was run out of town by his own like some rabid rat. He would have gone crazy seeing all the crew deserting the sinking U.S.S. Trump with guys like fired FBI Director Comey going to Capitol Hill and saying out loud the emperor has no clothes and would not know the truth if it grabbed him by the throat. Every day would be a feast day. But perhaps the road to truth these days, in the days of “alternate facts” and assorted other bullshit would have been bumpier than in those more “civilized” times when simple burglaries and silly tape-recorders ruled the roost. Hunter did not make the Nixon “hit list” (to his everlasting regret for which he could hardly hold his head up in public) but these days he surely would find himself in the top echelon. Maybe too though with these thugs who like their forbears would stop at nothing he might have found himself in some back alley bleeding from all pores. Hunter Thompson wherever you are –help. Selah. Enough said-for now
CD REVIEW
Janis Joplin: 18 Essential Songs, Janis Joplin with Big Brother and The Holding Company, Columbia Records, 1995
It is virtually a truism that every generation has its own cultural icons, for better or worst. The 1960’s, the time of this reviewer’s “Generation of ‘68”, was no exception. Although there were no official creeds in the matter, in fact we scorned such thinking, a rough translation of what we thought we were about then could be summed up as follows- live fast, live young and live forever. Other, later generations have put their own imprint on that theme although I sense without our basically naïve and hopeful expectations of that phrase. All this is by way of saying that the artist under review, urban white blues and soul singer Janis Joplin, was one of our icons. That she crashed and burned well before her time, and well before forever, only adds poignancy to her fate.
The role of “blues mama” for a generation is certainly no task for the faint-hearted, as Janis’s life, life style, and fame attest to. That she was able to translate the black blues idiom and style of the likes of her idol “Big Mama” Thornton, of necessity, had to take its toll on that tiny hard scrabble Texas-raised body. But that is the fundamental tragedy (and beauty) of the blues. Not only must you ‘pay your dues’ but this genre cannot be faked. If you have not lived a hard scrabble existence, faced the depths of what society has to offer and come out swinging you flat-out cannot convey that message the way it is suppose to be done. Janis could. Other white women blues singers as fine performers as they are, like Tracey Nelson and Rory Block, approximate that sound but there is just a little too much “refinement” in the voice to pass this test.
So what did Janis (and her fellow musicians of Big Brother and The Holding Company who generally rose to the occasion and created great sounds to go with that Joplin voice) leave us? Well, as contained in this above average CD compilation of her work, most of the essential woman’s blues numbers of the 1960’s that will stand the test of time. Not bad, right? Start off, as always, with ‘Big Mama’s” “Ball and Chain” (that blew them away at the Monterrey Pops Festival). Move on to the classic Gershwin tune “Summertime”. Feast on her own “I Need A Man To Love” and “Kozmic Blues”. And close out with Kris Kristofferson’s 1960’s traveling anthem “Me And Booby McGee”. And in between a dozen more memorable tunes. I defy anyone to find a song in this compilation that is less than above average. And that kind of says it all. Janis Joplin’s star burned out far too quickly and those of us from her generation are now coming to terms with the fact that, despite our youthful beliefs, we will not live forever. Her music, however, will.
Ball And Chain lyrics
Sittin’ down by my window,
Honey, lookin’ out at the rain.
Oh, Lord, Lord, sittin’ down by my window,
Baby, lookin’ out at the rain.
Somethin’ came along, grabbed a hold of me, honey,
And it felt just like a ball and chain.
Honey, that’s exactly what it felt like,
Honey, just dragging me down.
And I say, oh, whoa, whoa, now hon’, tell me why,
Why does every single little tiny thing I hold on to go wrong ?
Yeah it goes wrong, yeah.
And I say, oh, whoa, whoa, now babe, tell me why,
Does every thing, every thing.
Hey, here you gone today, I wanted to love you,
I just wanted to hold you, I said, for so long,
Yeah! Alright! Hey!
Love’s got a hold on me, baby,
Feels like a ball and chain.
Now, love’s just draggin’ me down, baby,
Feels like a ball and chain.
I hope there’s someone out there who could tell me
Why the man I love wanna leave me in so much pain.
Yeah, maybe, maybe you could help me, come on, help me!
And I say, oh, whoa, whoa, now hon’, tell me why,
Now tell me, tell me, tell me, tell me, tell me, tell me why, yeah.
And I say, oh, whoa, whoa, whoa, when I ask you,
When I need to know why, c’mon tell me why, hey hey hey,
Here you’ve gone today,
I wanted to love you and hold you
Till the day I die.
I said whoa, whoa, whoa!!
And I say oh, whoa, whoa, no honey
It ain’t fair, daddy it ain’t fair what you do,
I see what you’re doin’ to me and you know it ain’t fair.
And I say oh, whoa whoa now baby
It ain’t fair, now, now, now, what you do
I said hon’ it ain’t fair what, hon’ it ain’t fair what you do.
Oh, here you gone today and all I ever wanted to do
Was to love you
Honey you can still hear me rock and roll the best,
Only it ain’t roll, no, no, no, no, no.
Sittin’ down by my window,
Lookin’ out at the rain.
Lord, Lord, Lord, sittin’ down by my window,
Lookin’ out at the rain, see the rain.
Somethin’ came along, grabbed a hold of me,
And it felt like a ball and chain.
Oh this can’t be in vain
And I’m gonna tell you one more time, yeah, yeah!
And I say oh, whoa whoa, now baby
This can’t be, no this can’t be in vain,
And I say no no no no no no no no, whoa,
And I say whoa, whoa, whoa, whoa, whoa
Now now now now now now now now now no no not in vain
Hey, hope there is someone that could tell me
Hon’, tell me why love is like
Just like a ball
Just like a ball
Baaaaaaalllll
Oh daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy
And a chain.
Yeah.
Call On Me lyrics
Well, baby, when times are bad,
Now call on me, darling, and I’ll come to you.
When you’re in trouble and feel so sad,
Well, call on me, darling, come on call on me, and I’ll help you.
Yeah!
A man and a woman have each other, baby,
To find their way in this world.
I need you, darling, like the fish needs the sea,
Don’t take your sweet, your sweet love from me.
Baby, when you’re down and feel so blue,
Well, no, you won’t drown, darling, I’ll be there too.
You’re not alone, I’m there too,
Whatever your troubles, honey, I don’t care.
A man and a woman have each other, baby,
To find their way in this world.
I need you, darling, like the fish needs the sea,
Don’t take your sweet, sweet love from me!
Please! So baby, when times are bad,
Call on me, darling, just call on me.
I Need A Man To Love lyrics
Whoa, I need a man to love me.
Don’t you understand me, baby ?
Why, I need a man to love.
I gotta find him, I gotta have him like the air I breathe.
One lovin’ man to understand can’t be too much to need.
You know it
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be this loneliness
Baby, surrounding me.
No, no, know it just can’t be
No it just can’t be
There’s got to be some kind of answer.
No it just can’t be
And everywhere I look, there’s none around
No it just can’t be
Whoa, it can’t be
No it just can’t be, oh no!
Whoa, hear me now.
Whoa, won’t you let me hold you ?
Honey, just close your eyes.
Whoa, won’t you let me hold you, dear ?
I want to just put my arms around ya, like the circles going ‘round the sun.
Let me hold you daddy, at least until the morning comes.
Because it
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be now
Oh no
Can’t be this loneliness
Baby, surrounding me.
No, no, no it just can’t be.
No it just can’t be
Oh, baby, baby, baby, baby, just can’t be.
No, no, no
No it just can’t be
And why can’t anyone ever tell me, now ?
No it just can’t be
I wake up one morning, I realize
No it just can’t be
Whoa, it can’t be.
No it just can’t be
Now go!
Whoa, I need a man to love me
Oh, maybe you can help me, please.
Why, I need a man to love.
But I believe that someday and somehow it’s bound to come along
Because when all my dreams and all my plans just cannot turn out wrong.
You know it
Can’t be now Oh no
Can’t be now Oh no
Can’t be now Oh no
Can’t be now Oh no
Can’t be now Oh no
Can’t be just loneliness
Baby, surrounding me
No, no, no, it just can’t be
No it just can’t be
Oh, baby, baby, baby, baby, it just can’t be
No it just can’t be
And who could be foolin’ me ?
No it just can’t be
I’ve got all this happiness
No it just can’t be
Come, come, come on, come on, come on, and help me now.
No it just can’t be
Please, can’t you hear my cry ?
No it just can’t be
Whoa, help ...
Newly Found Photos Show Janis Joplin's Final Concert — 45 Years Ago At Harvard
Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
They were waiting for Janis Joplin.
“Oddly, while we were sitting there—and the crowd was getting into something, it became very smoky and sweet there, let’s put it that way—we could see, straight ahead, the open-scaffolding stage,” says Kevin McElroy, who was seated near the front with his boyfriend, Peter Warrack. “Janis was underneath. And she had a bottle of Southern Comfort, and she was just in a world of her own there. She just was doing what she wanted to do in the moment. After another hour-and-a-half or so—it was really quite a delay—she literally burst onto the stage. It was just electric.”
Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
It was a special night for Warrack as well. An amateur photographer who liked to photograph celebrities and collect autographs, he shot almost a whole roll of film from down in the front, a telephoto lens aimed upward at the star as she threw herself across the stage. Concerts weren’t documented as thoroughly back then as they are now, thanks to Instagram and Twitter and a camera on every smartphone, so those 24 black-and-white close-ups are, seemingly, some of the few existing relics of the historic concert.
The Liverpool-born Warrack died in 2008, but nearly his entire collection of photographs—around 15,000—remained unpublished during his lifetime. Until recently they languished in a vast collection of binders in several closets at McElroy’s residence in Boston’s South End. House of Roulx—a Danvers-based operator of an online boutique selling celebrity photos, reproductions of funny sci-fi art and copies of curious old photos—acquired the entire collection this year. Individual prints as well as a limited edition box set of the Joplin series are available for purchase on the House of Roulx website.
Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
Taken together, Warrack’s photographs of Joplin are like a flip-book of the 27-year-old singer that capture a few fleeting, candid moments onstage. They are portraits, really, set against a black background, zoomed in close enough to count the bracelets on her wrist. In one shot, she holds a finger pensively to her lips. In another, she radiates, smiling as she looks over her shoulder. One photo captures her in motion, a blur of sweat and song.
“She was feeling no pain, literally,” says McElroy. “She was interacting with the audience in almost a—well, it wasn’t almost, it was, it was a sexual banter back and forth. They were calling up to her, they wanted her, and she wanted them. At one point in time she says, ‘Yeah, I’ll take you on. One at a time. One at a time.’ That was part of who she was.”
Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
“I think people today might not understand—you know, Janis was young, she was only 20-odd, and she was one of our current rock stars,” says McElroy. “She was just somebody who was touring, and somebody who was good, and somebody you wanted to see. Over the last 45 years, Janis has become something else, in a way most people who die young do become. And I think young people today would look at Janis and not see her in the same light that we did.”
In McElroy’s telling, Warrack’s work was driven by a fascination with both the glamour of celebrity as well as the humanity behind it. The photographs of Joplin, he says, show a side of her that has been largely erased by her iconic status and all that she symbolizes now.
“I think we see something different when we look back,” says McElroy. “I don’t think we see just Janis herself. [That night] was just Janis, performing. It was wonderful.”
Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
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