I have the immense pleasure today of welcoming a very special guest, singer-songwriter Janis Ian, to CINEMATIC REVELATIONS for an interview. Janis has had many hits over the years including ‘Society’s Child’, ‘At Seventeen’, ‘Fly Too High’, and ‘Love Is Blind’, to name just a few from her extensive discography. Janis’ work has also been recognized with two Grammys, with a further ten nominations. In this interview Janis will be discussing her rendition of ‘Here Comes The Night’ featured in THE BELL JAR [my review of the film can be found here] singing, acting, and being the recipient of two Grammys.
Welcome to CINEMATIC REVELATIONS Janis!
Athan: When did you first realize that you wanted to be a singer?
Janis: Probably when I was ten years old, and began playing the guitar. I'd seen Odetta the year before, and she really influenced me. And of course, Joan Baez.
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Athan: Where did you study music?
Janis: Hm. I never actually "studied" beyond piano lessons from when I was 2 ½ to when I picked up the guitar at ten. I had a lot of piano teachers; we didn't have much money, and we moved around, so there wasn't much stability. I did get a grounding in the basics of reading music and playing piano, but (for instance) only figured out what the middle pedal on a grand piano did when I was in my 30's. I picked up guitar by reading chords and songbooks and playing along with records. I was also fortunate that even though she was inexpensive, I had a great voice coach in Newark when I was about twelve – my Dad insisted I take lessons, to make sure I preserved my voice. Since then I've had, I think, three other vocal coaches, all of them good.
In terms of orchestration, I taught myself with a couple of books and two albums – West Side Story and The Rite of Spring. I scored both by ear because I didn't know you could purchase scores.
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Athan: Your songs display a social consciousness, specifically with regard to women’s issues, but with universal appeal. ‘Here Comes The Night’, which was played at the conclusion of THE BELL JAR, was beautifully performed, and evocative of the pensive tone that the picture expressed so well. What inspired you to write this song?
Janis: Gosh, if I knew where inspiration came from, I'd bottle it, sell it, and be a billionaire. I have no idea. It's very rare that a song can be traced directly to a source of inspiration. I think that one sprang off the piano part.
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Athan: How did it feel to have your song featured in the closing credits of THE BELL JAR?
Janis: Well, clearly, being part of something with Julie Harris performing in it is an absolute honor. Writing for a film, or finding a song that suits a particular film, is always interesting because there are so many possible interpretations. When it's used with another form, whether film or a Broadway musical, I believe the music needs to move the plot forward (if that's where it's placed, West Side Story being a great example) and/or comment on the work itself. That's where "Here Comes the Night" was so perfect.
I did have some difficulties making the music supervisor and producers understand why I chose to have the background vocals, the evocation of the South, but in the end I think they got it.
The most difficult thing about that film was that the song was originally pretty slow, more like the live in London version on Hope, an album of old material I released for fans a couple of years ago. We were in the studio, tracking it, with the background vocals almost done, when they called to say I had to shave a minute off it! I don't mind telling you, that was quite a challenge…
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Athan: You studied with Stella Adler at her acting school, and have performed in one motion picture, and on television. In which way do you find acting was of assistance to you when performing live in concert, or during recording sessions?
Janis: Stella Adler gave me a language for things I'd only felt. She gave me a confidence in my talent, and tools to work with that talent. I'd say the things I got from her classes are more relevant to my writing than performing or recording – the use of imagination, for instance, and of creating a back story for characters.
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Athan: You won a Grammy in 1976 for Best Pop Vocal Performance, and in 2013 for Best Spoken Word Album. How did it feel to be honored for your work at the Grammys?
Janis: It's great. I won't deny that it's great. But I get concerned about the whole function of an "awards show", especially now that they're sooooo huge. My first nomination was around 1967, and it was still a small business, with very few categories. Now, it's a huge industry, with tons of categories. I think sometimes we try to make everyone happy, to the ultimate detriment of the object itself. I also worry that kids are being trained to think art is always a contest. It's not a contest. It shouldn't be a contest.
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Athan: In addition to singing, you have also authored several books. In which way do you feel that writing assists singing and songwriting, and vice versa?
Janis: Two different disciplines, two different arts, but ultimately, all art abides by the same rules and structures. Beyond that, I really don't know, sorry!
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Athan: Do you have any upcoming projects of which you would like to tell readers?
Janis: Well, I'm about to leave on my final North American tour, and I've just released The Light at the End of the Line, my final solo studio album. We're talking about going to Europe, UK, Ireland in 2023, but that's about it. I want to stay home and write!!!
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Thank you so much today for your time Janis, and for the insight you have provided into the art of song, THE BELL JAR, acting, writing, and the Grammys. It has been wonderful having you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.
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Janis Ian links
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