![]() ![]() She followed that with “Just Like a Pill,” “Try” and “What About Us.” Through this point, every song was a banger, keeping the energy up and most of the room on its feet. During “Who Knew,” two pairs of dancers performed dramatic routines around her. On the following “Raise Your Glass,” she was joined by two performers on flamingo-shaped Segways. Two other dancers, hanging from a lit-up contraption that looked like two rings, hoisted her back up for some flips as fog cannons and sparklers at the back of the page turned the whole performance into a three-ring circus.īut P!nk and her crew were just getting started. She was quickly joined by three dancers on stage but didn’t stay grounded for long. At that point she was hard to miss in her sparkly pink outfit and shoes. Even though she appeared on screen, her location wasn’t given away until after she dove headfirst from the lighting rig up above. It began with a bang as the band, performing on raised platforms at the back of the stage, kicked into “Get the Party Started.” All that was missing was P!nk herself. Josh Jones is a writer and musician based in Washington, DC.P!nk performs at Chase Center in San Francisco on Oct. Janis Joplin & Tom Jones Bring the House Down in an Unlikely Duet of “Raise Your Hand” (1969) Janis Joplin’s Last TV Performance & Interview: The Dick Cavett Show (1970) Watch Janis Joplin’s Final Interview Get Reborn as an Animated Cartoon ![]() “Joplin might’ve never hitchhiked across the country with anyone named Bobby McGee,” but she “did what great interpreters do.” She made the song “about Janis Joplin, because that’s what Janis Joplin made it.” “Instead, she just lets it rip, her phrasing immediate and instinctive,” howling at the stars like Anthony Quinn. Written as a country song, Joplin doesn’t quite sing it that way, and she “doesn’t really sing it as blues or psychedelic rock either,” writes Breihan. But Joplin “made it her own,” Kristofferson says, and it’s no empty cliché. (The Louisiana references come in because Kristofferson was working as a helicopter pilot in the Gulf at the time.)Ī long list of famous singers has covered the song, originally recorded by Roger Miller-just about anyone you might name in folk and country. Foster gave Kristofferson the title “Me and Bobby McKee,” Kristofferson misheard the last name, assumed it was a man, and wrote the famous lyrics, inspired not by Barbara but by Federico Fellini’s La Strada, in which Anthony Quinn and Giulietta Masina travel together on a motorcycle as a performing duo. It was written, in 1969, about a woman, Barbara “Bobby” McKee, who worked as a secretary in songwriter Fred Foster’s building. Many people have assumed Kristofferson wrote the song for Joplin, but that’s not the case: he didn’t know she was recording it at all. Just blew me away.” Above, you can hear a rare recording, possibly the first take, and possibly one of the early versions Kristofferson heard in the studio. He met the producer of Joplin’s last album, Pearl, in L.A., who told him to come to the studio “to play me her recording of ‘Bobby McGee.’ And it just blew me away. “You can’t think of that song without thinking of Janis,” says Kris Kristofferson of Janis Joplin’s raw, bittersweet, posthumously released “ Me and Bobby McGee.” Kristofferson, who wrote the song, only heard Joplin’s version after her death, when he returned to California after playing the Isle of Wight in 1970. ![]()
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