"I always wanted to be an artist, whatever that was, like other chicks want to be stewardesses. I read. I painted. I thought"
About this Quote
It lands like a shrug, but it’s a small manifesto: Joplin frames “artist” as a half-mythic job title, the kind of hazy dream you claim before you even know what it costs. The throwaway “whatever that was” isn’t false modesty; it’s a snapshot of how unavailable the role felt to a young woman in mid-century America. “Stewardesses” is doing heavy cultural work here. That was the sanctioned, glamorous lane for “other chicks,” a job built around being looked at, being pleasant, being in motion but not in control. Joplin sets her desire against that script without preaching. She just shows you the fork in the road.
The syntax is blunt, almost percussive: “I read. I painted. I thought.” Three short sentences that sound like someone counting what she had when she didn’t have an industry’s permission. It’s not “I performed,” not yet; it’s interior labor. Reading and painting point to a wider artistic hunger than the public remembers when they reduce her to voice, hair, heat. And “I thought” is the quiet flex - intellect as rebellion, especially for a woman routinely caricatured as pure emotion and excess.
The subtext is loneliness and self-invention: she’s describing a private apprenticeship before the mythology of Janis Joplin hardened. In the late 60s, when “authenticity” became a commodity, this line refuses the polished origin story. It’s messy, uncredentialed, and stubbornly ordinary: wanting it before having language for it, doing the work before anyone called it art.
The syntax is blunt, almost percussive: “I read. I painted. I thought.” Three short sentences that sound like someone counting what she had when she didn’t have an industry’s permission. It’s not “I performed,” not yet; it’s interior labor. Reading and painting point to a wider artistic hunger than the public remembers when they reduce her to voice, hair, heat. And “I thought” is the quiet flex - intellect as rebellion, especially for a woman routinely caricatured as pure emotion and excess.
The subtext is loneliness and self-invention: she’s describing a private apprenticeship before the mythology of Janis Joplin hardened. In the late 60s, when “authenticity” became a commodity, this line refuses the polished origin story. It’s messy, uncredentialed, and stubbornly ordinary: wanting it before having language for it, doing the work before anyone called it art.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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