Janis Joplin Peggy Caserta

JANIS: LITTLE GIRL BLUE A documentary by Amy J. Berg, USA 2015, 107 min. FEDERAL START: January 14, 2016, presented by ARSENAL FILM DISTRIBUTION Janis Joplin was not only one of the world’s most influential rock icons and a goddess of song. She also inspired an entire generation and conquered new territory for female rock singers after her. Besides all her tumultuous love affairs and drug addiction, there was one constant: she was completely devoted to her music until her heartbreaking death at the age of 27. Janis recounts her own life through the letters she wrote to her family, friends and lovers. Chan Marshall (Cat Power) lends her raspy Southern voice to the film’s readings of Janis’ painfully intimate letters. Director Amy Berg (Oscar-nominated for “Deliver Us From Evil”) sees behind Janis’ rock ‘n’ roll persona to reveal the gentle, trusting, sensitive, yet strong woman behind the legend. Janis Joplin is one of the most revered cult rock ‘n’ roll singers of all time, a tragic and misunderstood figure who thrilled millions of listeners and found entirely new creative directions before her death in 1970 at age 27. With Janis: Little Girl Blue, Academy Award-nominated director Amy Berg (Deliver Us from Evil, West of Memphis) explores Janis’ story for the first time on film through all its ups and downs, presenting an intimate and revealing portrait of a complicated and driven artist. With huge hits like “Me and Bobby McGee” and “Piece of My Heart,” and such rock classics as Cheap Thrills and Pearl, Janis (now in the Rock and Roll Hall of Fame) was definitely a star of the emerging musical and cultural revolution of the 1960s. Her performance at the Monterey Pop Festival was her breakthrough, and she was one of the more memorable acts at Woodstock. Her musical legacy has multiplied since her death. She is listed high on Rolling Stone’s list of both Best Female Vocalist and Best Female Artist of All Time, and as cited by almost all female rock stars as a great role model (including many male singers). Yet, as Janis: Little Girl Blue reveals, Joplin never fully recovered from the feeling of being an outsider she felt during her youth in Port Arthur, Texas- for all her bravado on stage with her uninhibited, sexualized persona, she was haunted throughout her life by insecurity and the need to be accepted. When she discovered the blues, she found an outlet for her pain and loneliness. When she came to San Francisco at the beginning of the hippie era, she discovered a community to which she immediately felt a sense of belonging. Ultimately, Janis Joplin is a paradox, a pioneer for a new female form of performance who never stopped seeking love and security, always on her terms. Joplin’s own words tell much of the film’s story, via a series of letters she wrote to her parents over the years, many of which are published for the first time (and read by Southern rock artist/actress Chan Marshall, known as Cat Power). This correspondence is just one element of the stunning, previously unseen material Berg found during the seven years she spent working on Janis: Little Girl Blue. New audio and video of Joplin in concert and in the studio (some shot by legendary filmmaker D.A. Pennebaker) and even footage of her emotional return to Texas for her ten-year high school reunion add depth and texture to this remarkable story. Interviews with Joplins’ family, childhood friends, musical companions, TV host Dick Cavett and such famous colleagues as Bob Weir of “The Grateful Dead” give a full sense of someone who struggled so to connect with both individuals and large audiences, and was happy when it worked. Joplin was like a powerhouse when she sang, and her recordings found their way onto the radio and straight into the hearts of rock fans worldwide. Berg’s Janis: Little Girl Blue creates a new understanding of this smart, complex woman whose surprising success and sudden departure changed music forever. NOTES BY DIRECTOR AMY BERG Janis Joplin was – and still is – a primal force in music, a rock ‘n’ roll pioneer who is still beloved by millions nearly 40 years after her death. The recordings of her performances are still mesmerizing today. Her influence reached worldwide, but her material is incredibly personal. Her music and lyrics were often inspired by people she knew and had met. Her songs were never just about herself. In this film, we show that her music became a comprehensible expression of humanity through rock and roll. For all the adoration and admiration that she and her music elicited, what is most surprising is the deep loneliness and feeling of not being loved that she often felt when the crowds went home. Music became her whole purpose in life and her performances were the pulse that drove her to keep going. Janis is still a symbol of our collective pain – the raw, eloquent voice that expresses our suffering appropriately and unvarnished. She relieves us by caressing and embracing the pain that each of us carries within. This explains why her live performances were so electrifying. When Janis went on stage and let it all out, the joy and the pain, it was absolutely intoxicating. With the utmost love and respect, the filmmakers discover the full range of her emotions, from the depths of tragedy and sadness to the heights of ecstasy and jubilation, because this is exactly the authenticity Janis would have wanted. When Janis shouts out “Ball and Chain” at Woodstock, like Odetta, Bessie Smith, and Big Mama Thornton, she uses all her emotions to put them into the blues. When Janis sings “I know you’re unhappy…baby, I know just how you feel” from the Rodgers & Hart classic “little Girl Blue,” she is wailing for all the outcasts and losers she had met over the years. But our film explores more than the tortured magic of Janis’ music and the depths of her anguish and pain. We also create a cinematic celebration of her exuberant spirit and the impact Janis left on the world after all these years. Her love of life is evident in the hundreds of cult photos that show Janis convulsed with laughter, the images so powerful you can almost hear her famous cackle. Janis had an indomitable strength to push aside her pain and be completely on top of her game. Her message, which she once shared with a reporter, was quite simple: “Get off your butt and feel!” On the subject of feelings, it’s important for us to note that we’re telling Janis’ story from two different angles. On one hand, we’re just right there with Janis, experiencing her journey from her point of view, learning about who she is, how she sees the world, what she likes, and what she puts up with to succeed. Then, as the film shifts to the concerts, we go into serious fan mode, soaking up the show from the front row, and we watch Janis’ electricity on stage! This has the inevitable effect of Janis becoming like a drug for the audience. Not only do we see the overwhelming impact of her live shows, where Janis left her audience totally stunned, exhausted, and screaming for encores – no one will get closer to the Janis of that era than our front row perspective. And when our story leaves the concerts and returns to Janis’ life backstage, where she often used alcohol, drugs and sex to mask her pain and escape the pressures, our impulse as audience members is to bring her back onstage. Performing saves her – it’s her drug in many ways. Music gave Janis the acceptance she had always craved and performing was her release. It’s hard to imagine how vulnerable she was backstage when you see the explosiveness of her performance. When she was on stage, she rode a wave of unconventional love that could not be duplicated or sustained offstage. As short as her career was, Janis’ influence was huge not only on the music scene but on the entire cultural scene. She was real, not without flaws and the perfect reflection of the 1960s. Janis was a human prism through which many of the issues of the day could be seen from drugs, the counterculture to the women’s movement and the anti-war movement, from the sexual revolution to hippie fashion and tattoo culture, even civil rights. Janis, it seems, was the pioneer of it all. And musically, Janis Joplin was nothing less than an outsider. She was the first real female rock star, a trailblazing one-off in the macho world of rock ‘n’ roll. She was called “the greatest white female blues singer of all time” by many, putting her stamp on the soulful Leider of her blues idols. Janis became the bridge between the blues ladies and the later female rockers. Stevie Nicks says her life changed after seeing Janis live. “She had a connection with the audience that I had never seen before,” Nicks recalls. ” And when she left the stage, I knew my destiny had changed. I would look for that connection I had seen between Janis and her audience.” Janis’ courage was the first thing that first struck Sonic Youth’s frontwoman Kim Gordon. “When I heard her voice as a teenager,” Gordon recalls, “I knew she was the role model for not being afraid to try something that seemed ugly at first to create something completely new and beautiful.” Gordon and Nicks are not alone in their adoration. Their influence has hovered over the musical map for generations. Courney Love, Exene Cervenka, Joan Jett, PJ Harvey and even Grace Slick are just a few of the woman inspired by Janis. More recently, Joss Stone and Amy Winehouse have obviously been disciples of Janis. Like Pink, who once said, ” I have a deep, spiritual connection to Janis. I’ve always been extremely drawn to her energy, her pain, her voice and her life. And I think she’s one of the most remarkable women who ever lived.” Janis may have died in 1970, but she was always on the pop radar. Bette Midler’s movie, “The Rose,” in 1979, was based on Janis’ life. A musical called “Love, Janis” was enthusiastically received and sold out in the 1990s. More recently, Janis’ version of “Cry baby” was cheered on American Idol. And a Hollywood biopic has been in the works for years, with actresses like Zooey Deschanel and Amy Adams eager to star. Janis has also inspired more than one hit song. from Leonard Cohen’s “Chelsea Hotel No. 2” (“You fixed yourself, you said, ‘Well never mind/We are ugly but we have the music…”), to “Pearl” by the Mamas and Papas (“Here’s a wish for a runaway girl/Here’s a prayer for honkytonk Pear/… 1, to Joan Baez’s “In the Quiet Morning” (“That poor girl/tossed by the tides of misfortune/Barely here to tell her tale/Rolled in on a sea of disaster/Rolled out on a mainline rail…”)-even a phrase in Don Mclean’s classic “American Pie” (“/met a girl who sang the blues/And I asked her for some happy news/But she just smiled and turned away…”). And there’s her own music. Has any artist ever generated so much fame and love with four albums? Janis recorded two studio albums with BBHC (Big Brother and the Holding Company and Cheap Thrills) and two solo albums (I Got Dem Of’ Kozmic Blues Again Mama! and Pearl). But after her death, more 15 greatest hits albums, reissues and live albums were released. Four decades after her untimely departure, Janis is as big as ever. With all the accolades and fame Janis achieved both in her lifetime and posthumously, it’s staggering to think of how much she was hurt during her short life. And the hurt was inflicted on her from all sides. During her high school years in Port Arthur, she was teased as a chubby bookworm and called a “nigger lover” and a “freak.” At the University of Texas, she was voted “Ugliest Person on Campus.” And although her parents were loving and supportive, they would have loved to see Janis become a teacher and sing in church every Sunday. And there were the amorous disappointments, of which there were so many. Country Joe McDonald, Johnny Winter, Kris Kristofferson and Peter de Blanc, the San Francisco meth dealer who put her on the bus to Port Arthur before asking Setz Joplin for his daughter’s hand in marriage, but whom she never heard from again. Janis experienced her only true love affair when, during a trip to South America, she stopped using heroin and alcohol and met David Niehaus, a teacher who traveled the world and at first had no idea who Janis was. David was her glimmer of hope for change. But a few months of undelivered letters, bad timing and her reunion with Peggy Caserta, a junkie friend who got Janis back on heroin, torpedoed the healthiest relationship Janis ever had. Fortunately for all music lovers, Janis possessed the gift of turning pain into artistic gold. That explains why her concert recordings are still so electrifying. Was there ever a pop musician before who conjured more from the chemistry of suffering and song? She didn’t just sing the blues, she could rock really hard. And Janis made the most danceable R&B music of the 1960s. Try not grooving along for once when “Raise Your Hand” or “Move Over” comes on your iPod. The sheer power of her performance and the bushfire of love that ignited in the audience during her performances could also explain why she didn’t go to David. She was getting something more intoxicating than any drug or love. And after so many painful rejections, nothing could match the energy of the live shows. In addition to the linear narrative, we also show some flash-forwards, an approximation of corresponding times in Janis’ history. Complementing the tonal shocks of the live performances, we show Janis’ saddest moments, and what it all comes down to. From the high school reunion, the trip to Brazil, her various heartbreaks to her discovery at the Dick Cavett gig to her demise with a dose of pure heroin in her hands. We send these moments ahead, taking them out of context as we follow our three-act structure. The flash-forwards manifest Jani’s lack of self-worth and her twisted view of the world, providing a different perspective. Our goal is to make a film that stylistically mirrors the psychedelic in Janis’ life – such as in Requiem For a Dream. By the end of the film, viewers have experienced the same physical reactions as they would at a live Janis concert. Ultimately, it’s an ode to the first female rock star. It is also a portrait of a fallen angel whose wounded soul took refuge in sex, drugs and the promise of romantic love. But it had a happy ending… Janis found real comfort on stage – singing to a crowd that adored her and understood every ounce of her suffering. “I hope there’s someone out there can tell me why the man / love wanna leave me in so much pain…” – Janis Joplin “Ball and Chain”

Director Amy Berg

Amy Berg Amy Berg, Writer & Director Amy Berg, born in Los Angeles on October 13, 1968, is a critically acclaimed, Emmy-winning and Academy Award-nominated documentary filmmaker. She was nominated for an Academy Award for her documentary DELIVER US FROM EVIL (2006) about the abuse scandals in the Roman Catholic Church. She then made WEST OF MEMPHIS, a documentary about a miscarriage of justice in West Memphis, which she produced with Peter Jackson and Fran Walsh. The film premiered at the Sundance Film Festival and won the WGA Documentary Screenplay Award. Her first feature film, EVERY SECRET THING, screened at the 2014 Tribeca Film Festival. and her next documentary, Prophet’s Prey, about the Fundamentalist Church of the Latter-Day Saintsf is currently screening in the US. Amy Berg has her own production company specializing in films about social injustice. JANIS: LITTLE GIRL BLUE had its world premiere at the Venice Film Festival, screened in Toronto, Hof and at the Viennale to great acclaim….

Narrator Chan Marshall (known as Cat Power).

Cat Power, born on 21. January 1972 in Atlanta, Georgia, her real name is Charlyn Marie Marshall and she is also known as Chan Marshall. She is a songwriter who had great success with the albums “Moon Pix”, “You are Free”, “The Greatest” and “Sun”. She wrote the score for Wong Kar-Wei’s “Blueberry Nights” and also acted in the film.


Directed by Amy J. Berg Narrated by Chan Marshall (Cat Power) Produced by Alex Gibney Amy J. Berg Jeffrey Jampol Katherine LeBlond Starring (alphabetically) Peter Albin, Sam Andrew, Karleen Bennett, Dick Cavett, John vonrne Cooke, David Dalton, Cornelius “Snooky” Flowers, Country Joe McDonald, Clive Davis, Melissa Etheridge, David Getz, Laura Joplin, Michael Joplin, Julius Karpen, Juliette Lewis, Alecia Moore, J Dave Moriaty, David Niehaus, DA Pennebaker, Travis Rivers, Powell St. John, Bob Weir, Jae Whitaker

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image”> Janis Joplin Documentary: Pressed One Too Many Times Photo: Arsenal The hippie movement’s greatest female matador, Janis Joplin, can be summed up by neuralgic points: Southern childhood, San Francisco nights, heroin; meeting the band Big Brother and the Holding Company, the hoarsely sung “Tell me why love is like / just like a ball and a chain,” Southern Comfort, heroin; Kozmic Blues Band, Full Tilt Boogie Band, at the end: club 27. Director Amy J. Berg has not been intimidated by the plethora of publications and films that have been made about this voice of the century in recent decades. In her Janis Joplin documentary “Little Girl Blue” she tries to put the singer’s short, tumultuous life in order, to show continuous lines, to tell relationships, feelings and stories to the end. She does this in a formally conventional way, but in terms of content in a serious, lasting and touching way. One of these lines is Janis Joplin as an attention magnet: She was a “troublesome kid,” a girl who was nothing but trouble, an old schoolmate tells Berg’s camera at the beginning. People could have fun with her, but were often ashamed of her in bars. This impression is confirmed by many of her friends and family members: “Attention seeking,” says an ex-girlfriend; into the limelight at all costs, then give everything there. This also resonates in her personal letters, which she sent to her loving and quite understanding parents until the very end – quite a good Southern daughter: “Look how successful I am! That’s me with my many friends!” The original quotes are interpreted by musician Cat Power, whose slightly brash voice fits perfectly. Berg refrains from the often dubious attempt for a filmmaker to dig into Joplin’s psyche, to infer inferiority complexes. That shows respect. For when an early fellow musician in “Little Girl Blue” talks about how much it affected Joplin to be voted “ugliest man” by a university newspaper, and when her sister addresses problems with her appearance not conforming to the norm, that is quite enough as a mood piece. Berg brings in the gender theme rather cautiously anyway, but she unfortunately only has a sound bite from a radio interview with Joplin in which she comments on women’s roles in society: “You are what you settle for,” she says. If you don’t fight the conditions, she says, you shouldn’t complain. “I’ve never been attacked by the women’s movement. Why should I? After all, I embody everything they say they want.” Sex screaming from every song Berg lets Joplin speak through her lyrics, cutting in o-tones that counter: In one letter, Joplin gushes to her parents about her strong love for Joe McDonald of Country Joe and the Fish. “We never loved each other,” Joe comments tersely in the original sound afterwards. In many familiar live excerpts, Joplin is heard pining for emotion, for embrace, weeping her loneliness. Berg places the first major newspaper article about this force of nature from San Francisco next to it. Its author heard sex screaming from every song. Of course it screams. But when she visualizes in the song, with her typical style mix of preaching and singing, a long scene in which “her man finally comes back home to her,” she seems to be above all a blues and gospel singer, like her first great role model Odetta. Even in the line of “female front singers,” Joplin was exceptional: all the other singers of the time were prettier; less demanding, less aggressive. Another line is heroin, Joplin’s drug career, which Berg traces: From alcohol to meth, which she took with a then-lover, to the “cozy times” when “we shot heroin and had relaxed conversations at the Chelsea Hotel,” as the former Big Brother guitarist recalls. “We shot heroin for fun,” says her longtime partner in crime, Peggy Caserta, as well. Time and again, Joplin went to rehab. In the end, after bad, drug-afflicted experiences with the Kozmic Blues Band, an extended heroin-free period and a freshly recorded (and, after her death, chart-topping) solo record (“Pearl”), she probably squeezed the stuff one too many times. No betrayal, no adulation The morning after her death, the film recounts, a love telegram was waiting for her at the front desk of Joplin’s hotel. It was from her lover David, whom she had met months earlier in Rio, who now joyfully invited her, and who is one of the original speakers who still shows the deep grief he felt over Joplin’s death. He wanted her to get clean first before moving forward with both of them. That didn’t work out. Doch der Film ist nüchtern genug, das Thema nicht unnötig zu verkitschen: Es war gewiss nicht die fehlende Liebe eines einzigen Menschen, die Joplin wieder zum Heroin greifen ließ. Es war ein Mix aus allem: dem Durst nach Extremen, dem Druck und einer gewissen Sorglosigkeit. Berg hat es geschafft, ihre eher unauffällige Konstruktion aus Talking Heads, Live-Ausschnitten, Briefen und Bildern zu etwas zusammenzufügen, das Janis Joplin näherbringt, ohne sie zu verraten oder zu beweihräuchern. Das Beste ist jedoch, dass Berg die obligatorischen Gespräche mit den Promi-Köpfen, die keine Zeitzeugen waren, in den Nachspann verbannt hat. Denn ob nun Pink oder Juliette Lewis auch Joplin-Fans sind? Egal. Im Video: Der Filmtrailer zu “Janis – Little Girl Blue”: “Janis: Little Girl Blue” USA 2015 Regie und Drehbuch: Amy Berg Erzählerin: Cat Power Darsteller: Janis Joplin, Cat Power, Peter Albin Verleih: Arsenal Filmverleih Länge: 105 Minuten FSK: ab 0 Jahre Start: 14. Januar 2016 Search preferences Direkt zu den wichtigsten Suchergebnissen


    Paperback. Zustand: Fair. No Jacket. First edition THUS. Cover and binding are worn but intact. A reading copy in fair condition. Covers betray fading and nicks and other signs of wear and imperfections commensurate with age. Aesthetic fraying on the spine, but the binding remains structurally sound. Pages absent any extraneous marks. Sealed in plastic for shipping. Secure packaging for safe delivery.


    Soft cover. Zustand: Very Good. 1st Edition. Softcover.Used.Page edges tanned.Remainder mark to top page eges.Very well preserved copy with only some mild rubbing to extremities.Previous owner’s name to endpapers.First published in hardcover in the UK in 1975 by Talmy,Franklin Ltd.This edition.published in softback in the same year by Futura.Very good copy.Uncommon.


    Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Fair. 1st Edition. Cloth, 8vo. 1st ed. 298pp. Red boards. Illustrated DJ. Mild shelf/age wear to boards. DJ edgeworn, with a couple small tears.


    Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Very Good. First Edition. First printing. 8vo. 298 pp. Red cloth. Fine in Very Good dust jacket. Jacket a bit toned and lightly dust soiled with mild wear to extremities. Bookplate to front paste down endpaper.


    Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Near Very Good. 1st Edition. Unmarked, clean and solid copy. Red covers with black lettering on spine bright. Dust jacket shows normal wear, lightly sunned with moderate edgewear and a couple small cuts on edges, price on flap $7.95. Dj now in protective mylar jacket. No indication of other printings.


    Hard Cover. Zustand: Very Good Plus. Zustand des Schutzumschlags: Very Good. First Edition. First printing of the first edition (as indicated by lack of additional printings and/or editions mentioned on the copyright page) A very good copy with the previous owner’s bookplate affixed to the front free endpaper in very good dust jacket with moderate overall wear, a small chip to the bottom of the front panel and a closed tear to the bottom of the front panel. BR4 Size: 8vo – over 7¾” – 9¾” tall.


    Mass Market Paperback. Zustand: Very Good. First Edition. First edition. Front wrapper lightly rubbed. 1974 Mass Market Paperback. 267 pp. Janis Joplin – A different kind of person and only a different kind of book could bring her back to life the way she really was. It tells a story as raw and honest as her voice, as gut-shaking as her songs, as vivid as her memory. It is by the beautiful woman who was her lover and fellow drug addict and there is nothing pretty about it, just the truth, sordid, ugly, yet strangely, stubbornly beautiful.


    First Edition. A near fine copy bound in finely woven red cloth stamped in black along the spine. Very clean and tight throughout, virtually unread. With a discrete black remainder mark at the bottom edge near the spine. And a neat tiny address label at the top of the inside front flap. In a complete and striking dust jacket with the original price of $7.95 at the top of the inside front flap. Very light wear to the top and bottom of the jacket’s spine ends. And a touch of rubbing across the letters “Ja” on the front panel. Overall, a very handsome and collectible copy of this personal and intimate look at Janis Joplin. She was just one of hundreds of funky little chicks floating around San Francisco’s Haight-Ashbury in the mid-Sixties. Taking drugs, getting drunk, sleeping around, trying to exist. But Janis Lyn Joplin from Port Arthur, Texas, did one other thing: She sang with a voice that sounded as if it had been ripped out of the bowels of a quartz quarry. A voice that knocked the rock world on its ear.


    Soft cover. Zustand: Good. No Jacket. 1st Edition. SOFTCOVER PAPERBACK, SIGNED & INSCRIBED BY CASERTA, FEBRUARY 1974, STATED 1ST PAPERBACK EDITION Del printng, GOOD CONDITION, AS-IS, .Condition is “Acceptable”. The cover is dog eared with a little rip in & CREASES CVR, Some light damage around the edge of the pages but otherwise solid. Inscribed inside the front cover by the author. Also some pencil writing on the first page, Interior Nice tight Clean light FoX, Wear , 267 pgs, ADS IN BACK , LITE STAIN BACK COVER ,Janis Joplin as told by her Female Lesbian lover. Intimate Story,They first met in November 1966 when Big Brother performed at a San Francisco venue called The Matrix. Signed by Author(s).

Janis Joplin Peggy Caserta.

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