FFWD Weekly
Copyright © 1997. All Rights Reserved.
Rockin' Joan Jett still a jukebox, baby
Love for grrll rock icon is all aroundJoan Jett and the Blackhearts with Kybosh
Tuesday, November 25
Cowboys"How'ya doin'? I'm Kenny La-Goon-A, I'm Joan's producer and I'm hooking up this call. What city are we talkin' to? Yeah, well, I KNEW THAT (it was in Canada). I knew It was either Calgary or Edmonton - I'M NOT THAT IGNORANT. Besides, I follow hockey and I know all about those guys, yer Flames. But, the Islanders are better, AREN'T THEY? I like the Islanders. Okay, here we go with ROCKIN' JOAN JETT...."
The preceding transcript of this writer's telephone connection to the recording studio of Joan Jett isn't here simply to relate the humor of being berated by a guy who sounds like a New Yawk cabbie (although, it is kind of fun), but because old Kenny summed things up perfectly with his introduction: rockin' Joan Jett. See, Jett has always epitomized both the best and worst of rock music (both elements necessary to keep things interesting, of course): there's the name, Jett, straight out of an Archie comic music group; there's the proto-punk pedigree with the feathered and teased, maxed-out blue eye shadow of the Runaways in the '70s; there's the Number One hit ("I Love Rock and Roll"); the cheesy ballads; the Hollywood bomb (Light of Day); and, best of all, the hell-bent for leather punk priestess present in all these incarnations.
This is ROCKIN' JOAN JETT.
Nevertheless, after saying "hello" to a weary voice only a slight degree less raspy than that of Mr. La-Goon-A, it seems somewhat necessary to add some levity to the conversation, such as pointing out that Jett's cover of the Mary Tyler Moore show's theme song for the Women's Basketball Association, as well as her recent performance on the opening credits of Ellen, might lead to a lucrative second career in TV jingles.
"Oh my God, I didn't even think of that," laughs Jett. "A few more TV shows and I'll have an album."
Nevertheless, Jett's visibility quotient on the tube is unmatched by her ubiquitous presence and influence among the punkettes and riot grrrls of the '90s. Included here is her collaboration with L7 on the Rock for Choice benefit album and the Evil Stig CD, another benefit with the surviving members of The Gits to aid in the investigation of the murder of their vocalist Mia Zapata. Now, with a new album due in early '98, Jett has established a songwriting partnership with the feminist mouthpiece and Courtney Love agitator of Bikini Kill, Kathleen Hanna.
"Initially it was because I was a fan of the band and they came through New York so I went to see them play," says Jett. "We met and got along real well and they asked me to produce a seven-inch for Bikini Kill. I was going out to Seattle anyway, so I ended up producing three songs, and that was the beginning of a great relationship. After that initial production I asked Kathleen if she'd like to write some songs, so we did that."
All of this, though, points to one of the most interesting contradictions in Jett's career For example, a few years ago Details magazine ran a piece on the favorite driving songs of certain celebrities and Jett's selections were raw power to the hilt - Minor Threat, The Clash, etc. Yet when it comes to her own records... let's just say, to put it diplomatically, they're a little slick (i.e. high gloss production).
"My heart is that of an indie person; just being an individual, kind of feeling like an underdog," explains Jett. "But, with the big labels you're able to get more of a major distribution, more of a network. So it's really about using the best of both worlds or finding both worlds in yourself."
Okay, there's no denying that her heart's in the right place and, like I said, it's the contradictions that keep things interesting. As for Jett, her mind set is where it's been since day one.
"We're basically taking the same direction that we always take," says Jett. "Straight up rock and roll. Raw and aggressive."
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