Ian, Janis - folk singer/songwriter
By: Dominick A. Miserandino
After 1960's hits like Society's Child and Seventeen, Janis Ian has become, what some writers have described as a Living Legend... but don't call Janis that to her face! In our interview Janis talks about songwriting, life, and most importantly keeping the balance of ‘normality' in life.
DM) I've noticed a lot of newspaper articles which mention that you've used
the website to promote your work. What made you begin that promotional
method, and how is it going so far?
JI) I started four years ago... really late on the bandwagon. Two
years after the site launched, we did an Internet charity auction in my mom's
honor. We were hoping to raise about $15,000 by auctioning off some first
drafts of songs that I've written, plus other memorabilia. Now we've raised
close to $78,000. As for publicity, I found that the traditional means, like
the Tonight Show, Time and Newsweek, simply weren't working out as well for
artists like me, because we were considered too old and not quite important
enough. So I started trying to find other ways of promoting myself so as to
keep in touch with fans.
DM) And I understand your fans take a big part in the site?
JI) We've had a really active bulletin board, with members reading
posts every day. I've always answered the questions myself, and I decided to
be a little more active with the whole thing. From that, it evolved into
weekly updates and pre-ordering the CD. For the next album, you'll be able
to listen to sound clips of the album in process. It's a whole other
community out there that is very active, so it's almost the equivalent of an
old "grass roots" postal campaign gathering new fans. The great thing is that
you can include people in other countries and they can become a part of it.
Now fans around the world will work together, discuss the music, and even
coordinate rides to the show. It becomes a little community, and when as
much of your life is focused on creating community like mine is, that becomes
a really cool thing.
DM) You mentioned that the Internet has helped get new fans. Who do you find
make up most of your fan base at this point--the fans who grew up with your
earlier songs like "Society's Child" and "Seventeen", or your current fans?
JI) I can only judge by the audiences, but we get about 30% of our
audience in the 15-30-year-old generation. Many of them are songwriters
who've read my column in performing songwriter magazines. A lot of them are
kids who found the records literally in the back of their parents' closet.
They pick up the record or tune into the website and then come to the show.
Word of mouth is an interesting thing with kids.
DM) Do you find that lately there's been a greater resurgence of interest in
your music?
JI) Oh yes, certainly, since I've been more actively performing
lately. It's also due to my doing more touring and having more press and, I
think, the more actively my fans get involved. They're a tenacious bunch!
DM) I noticed a lot of your fans are very... passionate about your work.
JI) Very! It's a great compliment. At times, they get a little
overboard and I need to calm them down, but in general they're a great bunch
of people.
DM) I was reading an article about the two careers in your life.
JI) (interrupting) Only two this time! I think that any time you're
not having hit records, people think you're a "has been", and when you do
have a hit, they say you're having a "second career."
DM) Then, in your own words, what is the real story?
JI) I've walked away from it a few times. Back when I was 17 and again
when I was 31.
DM) You didn't have many releases in the 80's.
JI) Basically, I didn't do anything from 1982 to 1992. It was
because I felt that my writing was going downhill.
DM) Did you find that the break helped the writing?
JI) Yeah, yeah. I found that when you're on the road full time and
you're trying to record and write an album every year, and, in addition,
you're on the road nine months of the year, it's a real hassle. You can't
spend time dedicated to writing, and writing takes time. It takes a certain
amount of reviving for you to be able to express what's going on inside of
you. If you don't have any time to be rested, then the writing never comes
out right.
DM) Do you feel that you could have written what you've written recently
if you had not taken the breaks that you did?
JI) No. When things are going well and you tour as intensely as I
do, it becomes a real Catch-22. You get tours when things are going well, but
you have no time to write.
DM) Considering that things are growing pretty hectic lately, is it
likely you might take a break again?
JI) No, not for another two years, at least.
DM) I find that cycle very interesting. In the 1960's with "Society's
Child", your career was hitting excessive highs, and it was at that point you
took a break.
JI) It's a good time to take a break when you have money in your pocket.
(laughs)
DM) What struck me the most about you was that those articles seemed to
focus on these transitions. From growing child star to singer/songwriter to
living legend.
JI) Well, I try to avoid that word, legend.
DM) But there are people who look at you that way.
JI) That's great, but they are really looking at the songs.
DM) So when people react to you that way...
JI) I say, "Thank you very much." ( laughs) What else can I say?
Ask my partner, she's certainly not living with a legend. The dogs don't
think so.
DM) It sounds like you try keeping a "normal life", then.
JI) I think that if you're going to be a writer, you write about life,
and not life on the road or life as a star. You write about everyday events
that may be extraordinary. You can't do that unless you're writing every day.
DM) Speaking of songwriting, do you feel that any of your new material could
reach the heights that "Society's Child" and "Seventeen" did?
JI) I have no idea. At the point when the album comes out, I've
done my job. I've made it accessible and available to listen to. But beyond
that, so much comes down to what shape the record company, the industry, and
radio are in. Who's got what budget? It all factors in. I couldn't even
wonder if something else I do could have that kind of impact, because so much
is involved in making a top ten hit.
DM) Doesn't it ever get disheartening that something might mean so much to
you but it might not make it to that level?
JI) But there are hundreds of thousands of people that feel that way
about their work.
DM) A lot of songwriters have the feeling that what they've written should
do very well, but with those other factors, it might not succeed at all,
regardless of artistic merit.
JI) Absolutely! It's all in the luck of the draw.
DM) Is that something so easily reconciled?
JI) No, I'm sure it's not. It wasn't easy for me, but it's certainly
reality. The bottom line is that it's a media-driven/money-driven business,
like any other business, and you have to recognize that once you step out of
the studio or onto the stage, you're basically selling soap.
DM) What do you mean, you're selling soap?
JI) I sell... the record company sells... the promoter sells... we all sell
Janis Ian soap. If any of us don't have any of those factors, then the
soap's not going to sell, and all you can do is try again or just get a day
job. And you can't let that get to you. I hate listening to artists whine
about how they should be more recognized. Joni Mitchell just had a TNT
special; does she think she's recognized enough? It's never enough, so why
go there? It's amazing to me that I learn a living and I have a house and a
mortgage like everybody else. That's great. That's head and shoulders above
my peer group. If I start going through, "How come I'm not the Dixie
Chicks"?, I'd just drive myself crazy.
DM) It seems like there's almost an expectation that once you reach a
certain level of success, such "normalities" aren't possible. The concept
that Janis Ian should have a mortgage and a dog and a normal life doesn't
seem to fit with the image.
JI) Well, that's from an audience standpoint. It's certainly not my
nephew or dog's standpoint. I think I've made peace with what I do and what I
want to do. I'm real clear on what I want to do with my work, and I try to
avoid the latter and embrace the former.
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