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"Where in 1966 and 67 the general feeling had been that the counterculture was moving towards some post-racial utopia where Black and white people alike..." - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "Where in 1966 and 67 the general feeling had been that the counterculture was moving towards some post-racial utopia where Black and white people alike...", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "Where in 1966 and 67 the general feeling had been that the counterculture was moving towards some post-racial utopia where Black and white people alike..."
link : "Where in 1966 and 67 the general feeling had been that the counterculture was moving towards some post-racial utopia where Black and white people alike..."

"Where in 1966 and 67 the general feeling had been that the counterculture was moving towards some post-racial utopia where Black and white people alike..."

"... could play psychedelic soul-infused blues music, now [after the King assassination] a Black man like Jimi Hendrix playing music for white audiences was derided by other Black people in terms I won’t repeat, while white singers like Joplin who were influenced by Black musicians were thought of as not far from minstrelsy. Joplin hadn’t noticed this change...."

From a new episode of "A History of Rock Music in 500 Songs" —  "Episode 169: 'Piece of My Heart' by Big Brother and the Holding Company."

Lots of great stuff in that episode, including how intelligent Janis Joplin was and how much her singing was based on imitation:

Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences — mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding....

[Producer John Simon thought Joplin] was soulless because she was giving calculated performances. To him, a great blues or jazz singer sang a song differently every time, putting feeling into it. Janis *sounded* like she was putting feeling into the performances, but in truth she had worked out every nuance of her performance, every scream or moan or gasp, pulling in bits of phrasing from Tina Turner or Etta James or Otis Redding, and would perform it exactly the same way every time. 

As [producer Elliot] Mazer later said “Janis would sing a song basically the same way every damn time. The guys working on the 1993 boxed set at Columbia would call me up and say, ‘It’s amazing! Seventeen takes and she sounds the same on every one!’… She was really smart, about the smartest artist I ever worked with. She had a vanity about her singing and she sang the words, the meaning, and orchestrated a way of doing it that was very moving. It was this incredibly powerful combination of intellect and spontaneous feeling. There’s a magic to it that few people can get.” 

Listen to the whole thing, which is full of musical clips, including one of what might be the most authentic version of her voice, "So Sad to Be Alone," where she sounds like Joan Baez.

"... could play psychedelic soul-infused blues music, now [after the King assassination] a Black man like Jimi Hendrix playing music for white audiences was derided by other Black people in terms I won’t repeat, while white singers like Joplin who were influenced by Black musicians were thought of as not far from minstrelsy. Joplin hadn’t noticed this change...."

From a new episode of "A History of Rock Music in 500 Songs" —  "Episode 169: 'Piece of My Heart' by Big Brother and the Holding Company."

Lots of great stuff in that episode, including how intelligent Janis Joplin was and how much her singing was based on imitation:

Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences — mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding....

[Producer John Simon thought Joplin] was

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soulless because she was giving calculated performances. To him, a great blues or jazz singer sang a song differently every time, putting feeling into it. Janis *sounded* like she was putting feeling into the performances, but in truth she had worked out every nuance of her performance, every scream or moan or gasp, pulling in bits of phrasing from Tina Turner or Etta James or Otis Redding, and would perform it exactly the same way every time. 

As [producer Elliot] Mazer later said “Janis would sing a song basically the same way every damn time. The guys working on the 1993 boxed set at Columbia would call me up and say, ‘It’s amazing! Seventeen takes and she sounds the same on every one!’… She was really smart, about the smartest artist I ever worked with. She had a vanity about her singing and she sang the words, the meaning, and orchestrated a way of doing it that was very moving. It was this incredibly powerful combination of intellect and spontaneous feeling. There’s a magic to it that few people can get.” 

Listen to the whole thing, which is full of musical clips, including one of what might be the most authentic version of her voice, "So Sad to Be Alone," where she sounds like Joan Baez.

Thus articles "Where in 1966 and 67 the general feeling had been that the counterculture was moving towards some post-racial utopia where Black and white people alike..."

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