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Subtitles by explosiveskull
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JOAN JETT: Ever since I wanted
to play guitar...
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when I was about 13,
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I asked my parents
for a guitar for Christmas.
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And they kind of thought,
you know,
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that's strange,
but they got it for me.
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It's like this thing
you get at Sears, you know,
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Thirty dollars, you get
the guitar and the amp.
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I was really excited.
I had no idea how to play it.
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But I got it plugged in,
and I just sat there
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on the low "E" string...
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(STRUMMING NOTE)
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...for hours, and drove
my parents absolutely insane.
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Then I wanted to learn
how to play
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and went and took a lesson,
and the guy said,
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"Girls don't play
rock 'n' roll."
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♪ I don't give a damn
'bout my reputation ♪
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♪ I've never been afraid
of any deviation ♪
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♪ An' I don't really care
if you think I'm strange ♪
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♪ I ain't gonna change ♪
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♪ An' I'm never gonna care
'bout my bad reputation ♪
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♪ Oh, no
No, no, no, no, no, no ♪
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♪ Not me
Me, me, me, me, me, me ♪
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♪ Oh, no
No, no, no, no, no, no ♪
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♪ Not me
Me, me, me, me, me, me ♪
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♪ Pedal, boys! ♪
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♪ Not me! ♪
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Growing up in the '70s,
it was sort of a feminism,
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and I didn't think that it
would be such a big deal
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for a girl to try
to play rock 'n' roll.
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♪ ("REBEL REBEL"
BY DAVID BOWIE PLAYS) ♪
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JOAN: I'd started reading
about this club
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probably when I was 12,
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Rodney Bingenheimer's
English Disco.
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MAN: He was the first to play
records by Blondie,
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The Ramones, Sex Pistols,
and Nirvana, to name a few.
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JOAN: They'd play Bowie,
and they'd play T. Rex,
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Iggy Pop, Suzi Quatro,
who I'd never heard of,
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who was this girl
playing bass.
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It was a disco for teenagers.
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If you were, like, 21,
you were already too old,
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though rock stars of that era
would come in.
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I was a naive kid,
so going to Hollywood,
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it was a big night out.
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I talked some kids
to come with me,
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and there were guys and girls
with tons of makeup on
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and crazy hairdos
and lots of glitter
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and really short skirts
and dresses and fishnets,
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and it was just,
"What the fuck is this?"
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A club full
of a bunch of weirdos
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living in a city that's known
to be full of weirdos.
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♪ I love you so ♪
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♪ ("GET IT ON"
BY T. REX PLAYS) ♪
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JOAN: And they're blasting
all this raunchy and dirty...
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but clean dirty, you know,
like playing on
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double entendres
and stuff like that,
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and some of it
was straight-up dirtier.
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That music hit you in a spot
you couldn't really describe,
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and it made you want to do it
and there was something...
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down there.
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As you're a kid, you can't put
your finger on it yet,
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so to speak.
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I'm walking into
all these dirty jokes.
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I only remember the sex.
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I don't remember anything else
about LA at all, apparently.
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EVELYN MCDONNELL: There was
a kind of depravity
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going on in Los Angeles
at that time.
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Quaaludes were really
important to understanding
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1970s rock 'n' roll culture
in California.
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DON BOLLES: I think everyone
was into Quaaludes then,
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'cause you could. Quaaludes
were a ridiculous drug,
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but everyone
seemed to like them.
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They were young suburban kids
out to wreak havoc,
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and get the hell away from
the suburbs and their parents.
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It was just a nutty time.
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EVELYN: Again, this was
coming out of Stonewall,
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the start of
the gay liberation movement.
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The nuclear bomb has gone off
in the nuclear family.
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♪ Bye-bye... ♪
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JOAN: My mother and I
used to go to the movies
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pretty much every weekend.
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We went to go see Cabaret.
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Really blew my mind.
I loved Liza Minnelli.
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I loved the combination
of the campiness,
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1920s Germany,
and the flapper girl vibe.
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So obviously being around
a place like Rodney's,
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that was campy, too.
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It was exactly the sort
of vibe in Cabaret.
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♪ You're better off
without me... ♪
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JOAN: But whatever happened,
Cabaret, Hollywood,
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and the idea about playing
music all fused into one.
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RODNEY BINGENHEIMER:
I always called Joan Jett
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and David Bowie "time travelers"
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because they're into all
this music before it happens.
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JOAN: At one point, I met
a girl, and she wrote lyrics.
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Kari Krome
was just another kid like me
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hanging out at the Disco,
and she said, you know,
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"Maybe you should talk
to my publisher.
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His name's Kim Fowley."
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He called me up one day
and, you know,
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"So-and-so says
you want to form a band."
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I said, "Yeah, I want to form
an all-girl band.
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I can't be the only girl
in Hollywood
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that wants to do this."
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He said, "Well,
do you have any demos?"
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I didn't even know
what a demo was.
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A couple days later,
it happened that Sandy West,
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who was the drummer
of The Runaways,
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she drove up with some friends
to hang out at the Rainbow,
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the Rainbow parking lot,
which is a place
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where people go to watch stars,
and people would hobnob
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and shoot the shit
for a few hours,
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and she went up to him saying...
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SANDY WEST: I said, "Hi,
you know, I play drums,
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and I'm in a band right now."
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He goes, "How old are you?"
"Well, I'm 15 and a half."
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He says, "You're kidding me."
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He goes, "I'm working with
a girl right now who's 14.
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I think she knows
a friend out in the Valley
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who plays electric guitar."
Turned out to be Joan.
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She arrived
a couple weeks later
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with her little Sears guitar
in hand,
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three buses
and four hours later
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from Canoga Park
to Huntington Beach,
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and she had such great rhythm
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that hit it off
so well together.
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Picked up the phone,
called Kim,
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said, "Listen to this,"
and we played
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some sort of
Chuck Berry-ish thing
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or maybe "Wild Thing."
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♪ Wild thing ♪
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♪ You make my heart sing ♪
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♪ You make everything ♪
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♪ Come on... ♪
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JOAN: Man, Sandy,
we really connected.
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That was the genesis
of The Runaways.
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It was the heart.
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INTERVIEWER: What were your
first impressions of LA?
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It was Rodney and Kim Fowley
walking down somewhere together.
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Kim Fowley looked
like Frankenstein
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if Frankenstein was on crack.
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He had produced a couple
of very obscure novelty hits.
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I think he was involved
with something
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called "Alley Oop"
by the Hollywood Argyles.
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I always loved the song.
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♪ There's a cat
in the funny papers ♪
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♪ We all know
Alley oop-oop ♪
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♪ Oop, oop-oop ♪
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♪ He lived way back
A long time ago ♪
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Et cetera.
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He flirted around
with working with me,
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and I really didn't want
to get too involved.
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One day, he said,
"Well, I've got a group going,
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and they are The Runaways."
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KIM FOWLEY: I said, "Joan,
let's go to the Sugar Shack
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because there will be
some girls out there
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who will know who you are."
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JOAN:
We had a three-piece lineup
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that we created
in the first month,
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but I was so shy at this point,
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it was obvious
I couldn't sing lead.
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You know, I was...
I was too shy,
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and I was embarrassed
kind of to be on stage.
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KIM: The whole room was full
of miniature lipstick lesbian
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teenage girls,
and then you had the gay boys
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who were mincing around.
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♪ ("BLOCKBUSTER" BY
THE SWEET PLAYS) ♪
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KIM: And a girl, Cherie Currie,
walked up
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and in a stage whisper said,
"That's Joan Jett!"
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♪ You better watch out
if you got long black hair ♪
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CHERIE CURRIE: I had heard
about The Runaways.
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And there was this little bit
of a buzz going on
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about this teenage rock group,
so when I met her, it was...
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you know, it was a little,
"Wow, it's Joan!"
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KIM: I said,
"You're either cruising her
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because you're a dyke,
or you want to be
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the lead singer of
The Runaways.
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Can you sing?" "Yes."
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"Good, you're gonna
audition tomorrow."
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And then she brought
her twin sister up.
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And I said, "I'm not
interested in a sister act.
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I'm interested
in one Brigitte Bardot
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fronting the screaming, loud,
obnoxious, rebellious girls
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who can take over the world."
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And everybody had big smiles
on their faces.
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"Yeah, yeah, yeah, yeah."
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- ANNOUNCER: The Runaways!
- (CROWD CHEERING)
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JOAN: I think Sandy came across
Lita by December of '75.
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The three-piece was over,
and we had Cherie
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and a bass player
named Jackie Fox.
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♪ Can't stay at home,
can't stay at school ♪
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♪ Old folks say
"You poor little fool" ♪
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♪ Down the street
I'm the girl next door ♪
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♪ I'm the fox
You've been waiting for ♪
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♪ Hello, Daddy, hello, Mom ♪
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♪ I'm your ch-ch-ch-ch-ch...
Cherry bomb ♪
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♪ Hello, world
I'm your wild girl ♪
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♪ I'm your ch-ch-ch-ch-ch
Cherry bomb ♪
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JOAN: Kim and I wrote
"Cherry Bomb" on the spot
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when Cherie came to audition,
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and it became such an iconic
song for The Runaways.
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♪ Bad nights
Causing teenage blues ♪
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♪ Get down, ladies
You've got nothin' to lose ♪
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KIM: When we were putting
The Runaways together,
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it was based on Darwin.
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Let's start with the evolution
of a man in show business.
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00:09:01,595 --> 00:09:04,217
♪ Hello, world
I'm your wild girl ♪
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00:09:04,219 --> 00:09:06,553
♪ I'm your ch-ch-ch... ♪
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00:09:06,555 --> 00:09:08,505
KIM: The guys just kept getting
more and more
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00:09:08,507 --> 00:09:10,076
and more and more feminine.
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Elvis was feminine.
Sinatra was feminine.
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00:09:13,403 --> 00:09:15,064
Bing Crosby was feminine,
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00:09:15,066 --> 00:09:16,856
but if you keep getting
more and more feminine,
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you're gonna get
to female, duh.
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00:09:20,667 --> 00:09:23,833
♪ Hello, Daddy, hello, Mom... ♪
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JOAN: What Jimi Hendrix said
about women
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00:09:25,946 --> 00:09:26,971
playing rock 'n' roll
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00:09:27,707 --> 00:09:30,172
and when they do, they'll be
looked at like aliens.
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00:09:30,395 --> 00:09:32,284
In our case,
it was absolutely true.
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♪ Cherry bomb! ♪
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KIM: If you look at the lyrics
of The Runaways,
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you'll find that there
is an openness
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00:09:39,226 --> 00:09:42,139
that most teenage girls
did not have in real life.
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JOAN: Everything
happened really fast.
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We were playing gigs.
We were in the studio.
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We just cut the tracks live.
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I was so into this idea
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00:09:52,602 --> 00:09:54,744
of girls being able to play
rock 'n' roll,
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00:09:54,746 --> 00:09:57,915
and that they'll play
as well as boys will,
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00:09:58,106 --> 00:10:00,184
and girls playing
rock 'n' roll
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00:10:00,186 --> 00:10:02,360
would be so cool and sexy
232
00:10:02,362 --> 00:10:03,740
because it's never been done.
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I thought everybody
would love it.
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00:10:06,650 --> 00:10:08,153
Once they realized
it was serious
235
00:10:08,155 --> 00:10:10,617
and we planned to make
an album and go on tour
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and do everything
the male bands were doing,
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the tables turned
where it went from,
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"Oh, cute, sweet,"
to "Slut, whore, cunt."
239
00:10:22,267 --> 00:10:24,025
I've been hurt.
240
00:10:24,027 --> 00:10:26,332
I've had my head split open
by a beer bottle,
241
00:10:26,970 --> 00:10:31,193
a rib cracked by getting
a battery thrown at me,
242
00:10:31,195 --> 00:10:35,834
like, a big metal rig thing
just because I was a girl.
243
00:10:36,251 --> 00:10:37,723
You know, get spit on.
244
00:10:37,916 --> 00:10:40,252
I mean, I just felt like
I couldn't leave the stage.
245
00:10:40,474 --> 00:10:42,683
You know,
I'd go off afterwards and cry
246
00:10:43,195 --> 00:10:45,433
just because they didn't get it,
and then I'd feel better
247
00:10:45,435 --> 00:10:47,417
after I'd... you know,
cried a little bit, going,
248
00:10:47,419 --> 00:10:52,217
"Why? What's with that, that
people need to be so hateful
249
00:10:52,219 --> 00:10:54,105
because you're playing
rock 'n' roll," you know?
250
00:10:54,107 --> 00:10:55,704
Some of the other girls
got tired of it,
251
00:10:55,706 --> 00:10:56,793
and I don't blame them.
252
00:10:56,795 --> 00:10:58,393
It was just that to me,
253
00:10:58,395 --> 00:10:59,452
it felt like
that's what I had to do.
254
00:10:59,674 --> 00:11:01,305
Tell me I can't do something,
255
00:11:01,307 --> 00:11:02,873
and you'll make sure
I'm gonna be doing it.
256
00:11:02,875 --> 00:11:05,528
RODNEY: Hey, I heard a story,
a rumor.
257
00:11:05,530 --> 00:11:07,256
Someplace
where you're rehearsing,
258
00:11:07,258 --> 00:11:09,020
what were you guys wearing
during the rehearsal?
259
00:11:09,979 --> 00:11:11,132
I heard it was so hot,
260
00:11:11,418 --> 00:11:12,888
the air conditioner
broke down, and...
261
00:11:12,890 --> 00:11:13,881
JOAN:
What do you want to hear,
262
00:11:13,883 --> 00:11:15,736
"Yeah, we took off our pants"?
263
00:11:15,738 --> 00:11:18,073
JOAN: I remember early on,
one of my first interviews
264
00:11:18,075 --> 00:11:21,913
where people probably asked me
about sex in the band.
265
00:11:21,915 --> 00:11:25,595
And I thought to myself,
if I answer this question,
266
00:11:26,523 --> 00:11:29,594
that's all The Runaways' music
will ever be about, is sex.
267
00:11:30,298 --> 00:11:33,788
I have to talk about music.
It has to be about music.
268
00:11:34,107 --> 00:11:38,394
Because just being girls
exudes that sexuality.
269
00:11:38,396 --> 00:11:40,121
We don't have to talk about it.
270
00:11:40,123 --> 00:11:41,593
JOAN: (ON RECORDING)
They don't know
271
00:11:41,595 --> 00:11:42,748
what to say
about an all-girl band
272
00:11:43,002 --> 00:11:44,475
besides the fact
that we're just a band.
273
00:11:45,658 --> 00:11:46,457
They don't know where to put us,
and so they just say, well,
274
00:11:46,459 --> 00:11:48,760
we're young,
we sing about, you know,
275
00:11:48,762 --> 00:11:50,681
slightly outrageous things,
rebellious things.
276
00:11:50,683 --> 00:11:52,664
So they stick us in that field.
277
00:11:52,666 --> 00:11:54,489
CHRIS STEIN:
I was sitting around my house,
278
00:11:54,491 --> 00:11:56,440
and I found an old copy
of Crawdaddy magazine,
279
00:11:56,442 --> 00:11:58,520
it was a review of The Runaways
280
00:11:58,522 --> 00:12:01,848
where the guy just
slammed the shit out of them.
281
00:12:01,850 --> 00:12:04,153
The stuff he didn't like
about them is all the stuff
282
00:12:04,155 --> 00:12:05,849
that everybody loves now,
283
00:12:05,851 --> 00:12:08,828
the fact that they were young
and sexy and female.
284
00:12:09,019 --> 00:12:10,777
DEBBIE HARRY:
We were all sort of rejects
285
00:12:10,779 --> 00:12:12,252
in terms of the industry.
286
00:12:12,667 --> 00:12:15,100
A lot of the criticism
that was heaped on them
287
00:12:15,419 --> 00:12:17,625
was very negative
and condescending
288
00:12:17,627 --> 00:12:20,185
and, you know, misogynistic.
289
00:12:20,187 --> 00:12:21,881
BILLIE JOE ARMSTRONG: Especially
with mainstream press
290
00:12:21,883 --> 00:12:23,132
in, like, the mid-'70s,
291
00:12:23,354 --> 00:12:25,209
You know,
people are fucking stupid,
292
00:12:25,211 --> 00:12:27,737
and they'll do anything
to create an article,
293
00:12:27,739 --> 00:12:29,084
to create some kind of outrage.
294
00:12:29,626 --> 00:12:32,185
JOAN: Rolling Stone
hated The Runaways.
295
00:12:32,187 --> 00:12:34,073
The only time
they wrote about us,
296
00:12:34,075 --> 00:12:37,304
"Runaways get arrested and
thrown out of Disney World."
297
00:12:37,306 --> 00:12:39,196
We were in a line
taking a photo,
298
00:12:39,483 --> 00:12:41,593
and we put our arms
around each other walking.
299
00:12:41,595 --> 00:12:44,600
"That's it! Lesbians, out!"
300
00:12:44,602 --> 00:12:46,394
But if you listen
to The Runaways,
301
00:12:46,587 --> 00:12:49,336
those are bad-ass rock songs,
and they kick the shit
302
00:12:49,338 --> 00:12:52,154
out of almost everything else
that was out at that time.
303
00:12:52,347 --> 00:12:54,427
♪ ("ALL RIGHT YOU GUYS"
BY THE RUNAWAYS PLAYS) ♪
304
00:12:54,906 --> 00:12:57,145
KIM: Women were stepping out
as rebels.
305
00:12:57,147 --> 00:12:59,064
Women were getting pissed off
in the culture.
306
00:12:59,066 --> 00:13:01,848
They were getting out there
and kicking some heads.
307
00:13:01,850 --> 00:13:03,673
The guys
were turning into fags,
308
00:13:03,675 --> 00:13:06,620
and the women were turning
into John Wayne.
309
00:13:07,451 --> 00:13:10,876
♪ Hey, you, the air
Is pretty thick tonight... ♪
310
00:13:11,163 --> 00:13:12,952
JOAN: At this point,
there were signs
311
00:13:12,954 --> 00:13:15,035
the women's-lib movement
was really taking root.
312
00:13:15,706 --> 00:13:17,179
It showed so much promise.
313
00:13:17,595 --> 00:13:20,056
All it meant to us was that
we could do what we want.
314
00:13:20,058 --> 00:13:23,004
♪ We don't care what we do
Is right as long as we do it ♪
315
00:13:24,314 --> 00:13:26,681
♪ We don't care
What we do is right... ♪
316
00:13:26,683 --> 00:13:29,656
JOAN: Kim took us to see
Clockwork Orange
317
00:13:29,658 --> 00:13:31,704
and Rollerball, and afterwards,
318
00:13:31,706 --> 00:13:34,107
he turned to me and Cherie
and said,
319
00:13:34,299 --> 00:13:36,152
"That's what I want
The Runaways to be."
320
00:13:36,154 --> 00:13:38,361
What he did in rehearsal,
you know,
321
00:13:38,363 --> 00:13:40,344
throwing stuff at us,
calling us names,
322
00:13:40,346 --> 00:13:42,072
that was our boot camp.
323
00:13:42,074 --> 00:13:44,600
We were preparing for exactly
what we walked into.
324
00:13:44,602 --> 00:13:46,744
Kim could come off
pretty intense,
325
00:13:46,746 --> 00:13:48,665
but I wasn't afraid of him.
326
00:13:48,667 --> 00:13:51,481
EVELYN: Kim is the, you know,
most controversial part
327
00:13:51,483 --> 00:13:52,539
of The Runaways.
328
00:13:52,762 --> 00:13:54,617
There were people
who loved Kim,
329
00:13:54,619 --> 00:13:57,113
and there are people
who actually despise him
330
00:13:57,115 --> 00:13:59,417
and think he
was a kind of Satan.
331
00:13:59,419 --> 00:14:01,401
JOAN:
My mother liked Kim,
332
00:14:01,403 --> 00:14:03,609
and he would be on the phone
with her for hours.
333
00:14:03,611 --> 00:14:05,785
He talked to her a lot,
you know, I mean,
334
00:14:05,787 --> 00:14:07,481
probably more than any
of the other mothers
335
00:14:07,483 --> 00:14:09,497
and was probably
the most friends with her.
336
00:14:09,499 --> 00:14:11,864
I think she felt reassured,
but she also knew
337
00:14:11,866 --> 00:14:14,459
how the other mothers
were hesitant.
338
00:14:15,579 --> 00:14:18,296
My parents told me
I could be anything
339
00:14:18,298 --> 00:14:20,472
I wanted to be
when I was five years old,
340
00:14:20,474 --> 00:14:21,308
and I believed them.
341
00:14:21,626 --> 00:14:23,160
So that's the attitude
342
00:14:23,162 --> 00:14:24,953
as a young child
that I took into life.
343
00:14:24,955 --> 00:14:27,225
I wanted to be an astronaut.
I wanted to be an archaeologist.
344
00:14:27,227 --> 00:14:28,857
I wanted to be
all different things.
345
00:14:28,859 --> 00:14:30,204
You know,
I didn't realize, really,
346
00:14:31,194 --> 00:14:33,016
there was this glass ceiling.
347
00:14:33,018 --> 00:14:35,835
When they got me
that guitar for Christmas,
348
00:14:36,026 --> 00:14:38,296
the electric guitar,
I was thinking,
349
00:14:38,298 --> 00:14:39,832
most parents wouldn't do that.
350
00:14:39,834 --> 00:14:41,561
ANNE LARKIN: She always had
this inner confidence
351
00:14:41,563 --> 00:14:42,683
that she knew what she wanted.
352
00:14:43,066 --> 00:14:44,473
She didn't care
what anybody else thought,
353
00:14:44,475 --> 00:14:47,513
even when she was young,
and it's, you know,
354
00:14:47,515 --> 00:14:51,161
the single vision,
and that's how she was, always.
355
00:14:51,163 --> 00:14:55,001
JOAN: My rebellion, as they say,
was not against my parents.
356
00:14:55,003 --> 00:14:56,761
What I saw, that society,
357
00:14:56,763 --> 00:14:59,004
with all this lip service
to women,
358
00:14:59,738 --> 00:15:03,067
women's lib and all that,
I saw that it was... bull.
359
00:15:04,187 --> 00:15:06,940
♪♪♪ Rows and flows of
angel hair ♪♪
360
00:15:07,546 --> 00:15:12,283
♪ And ice cream castles
In the air ♪
361
00:15:12,827 --> 00:15:14,361
There were a lot of girls
362
00:15:14,363 --> 00:15:18,264
who didn't want to be
Joni Mitchell, you know?
363
00:15:18,266 --> 00:15:19,928
They wanted to rock.
364
00:15:19,930 --> 00:15:22,393
The heaviest ones
would drink with you,
365
00:15:22,395 --> 00:15:23,896
do everything with you,
366
00:15:23,898 --> 00:15:27,193
but they were always
in that sidecar role,
367
00:15:27,195 --> 00:15:28,825
and then along came
The Runaways.
368
00:15:28,827 --> 00:15:31,548
Joan Jett
was nobody's sidecar.
369
00:15:32,218 --> 00:15:36,699
♪ (PLAYING "NEON ANGELS
ON THE ROAD TO RUIN") ♪
370
00:15:39,865 --> 00:15:41,209
EVELYN: It was
a very male-dominated
371
00:15:41,211 --> 00:15:43,480
rock-'n'-roll scene
in the 1970s,
372
00:15:43,482 --> 00:15:46,521
and the women that were
making music at that time
373
00:15:46,523 --> 00:15:50,233
were in kind of stereotypical,
"I'm a singer-songwriter,"
374
00:15:50,235 --> 00:15:51,736
had a different
kind of cultural power.
375
00:15:51,738 --> 00:15:54,076
♪ In overdrive ♪
376
00:15:54,618 --> 00:15:56,604
♪ Cobra kings ♪
377
00:15:57,018 --> 00:15:59,162
♪ Wet and wild ♪
378
00:16:00,154 --> 00:16:04,507
♪ Love the devil
That's in your smile ♪
379
00:16:04,954 --> 00:16:07,576
♪ Let me tell you
What we've been doin' ♪
380
00:16:07,578 --> 00:16:09,978
♪ Neon angels
On the road to ruin ♪
381
00:16:10,394 --> 00:16:12,760
♪ Let me tell you
What we've been doin' ♪
382
00:16:12,762 --> 00:16:16,347
♪ Neon angels
On the road to ruin ♪
383
00:16:17,499 --> 00:16:20,828
EVELYN: Rock radio did not play
a lot of women artists.
384
00:16:21,018 --> 00:16:23,449
The FM stations at the time,
385
00:16:23,451 --> 00:16:25,369
there'd only be
one female artist
386
00:16:25,371 --> 00:16:27,225
on the air per hour.
387
00:16:27,227 --> 00:16:30,556
This was like a literal policy
of radio stations.
388
00:16:31,866 --> 00:16:34,488
♪ Let me tell you
What we've been doin' ♪
389
00:16:34,490 --> 00:16:36,792
♪ Neon angels
On the road to ruin... ♪
390
00:16:36,794 --> 00:16:38,393
How many radio stations
are playing
391
00:16:38,395 --> 00:16:40,091
this kind of music
in the United States now?
392
00:16:40,314 --> 00:16:42,360
- Do we know?
- I would think almost none.
393
00:16:42,362 --> 00:16:44,251
Maybe like one or two
in New York, one or two in LA.
394
00:16:46,042 --> 00:16:48,216
TOM SNYDER: But from what I've
read about it, there's no music.
395
00:16:48,218 --> 00:16:51,192
It's just chords and ranting
and raving and putdowns.
396
00:16:51,194 --> 00:16:56,473
- Uh-uh-uh-uh.
- No, it's more than that.
397
00:16:56,475 --> 00:16:58,616
I think
it's a B-movie on record.
398
00:16:58,618 --> 00:17:00,760
They were young,
they were hot,
399
00:17:00,762 --> 00:17:03,320
and their music spoke
about who they were
400
00:17:03,322 --> 00:17:05,019
and about their generation.
401
00:17:05,242 --> 00:17:08,280
I mean, it was heartfelt
and mentally correct.
402
00:17:08,282 --> 00:17:10,264
KIM: I feel it's a vacuum
403
00:17:10,266 --> 00:17:12,280
because we're living
in a fragmented '70s
404
00:17:12,282 --> 00:17:14,810
where there's so many
different things happening
405
00:17:15,067 --> 00:17:17,816
that there isn't one Beatles
or one Elvis Presley.
406
00:17:17,818 --> 00:17:20,952
It hasn't come yet,
and here we are almost in 1980,
407
00:17:20,954 --> 00:17:23,577
and we're still looking over
our shoulders at the '60s.
408
00:17:23,579 --> 00:17:25,753
JOAN: There's an inflection
point in every generation
409
00:17:25,755 --> 00:17:27,832
where new ideas bubble
to the surface
410
00:17:27,834 --> 00:17:30,105
and express themselves
in new ways.
411
00:17:30,107 --> 00:17:32,316
The world had never seen
a band like us.
412
00:17:33,306 --> 00:17:36,952
I felt that England got us more
and did take us seriously.
413
00:17:36,954 --> 00:17:39,547
CHERIE: We were selling out
wherever we went.
414
00:17:40,187 --> 00:17:42,459
♪ ("PRETTY VACANT" BY
THE SEX PISTOLS PLAYS) ♪
415
00:17:42,971 --> 00:17:44,696
JOAN: They seemed to get it.
416
00:17:44,698 --> 00:17:47,895
Kids my age in England
had a much wider exposure
417
00:17:47,897 --> 00:17:50,299
to different kinds of music
and would embrace it.
418
00:17:51,290 --> 00:17:54,106
The Sex Pistols were a huge
part of the British punk scene.
419
00:17:54,586 --> 00:17:57,276
We got a chance to see some
of the punk stuff up close.
420
00:17:57,562 --> 00:17:58,939
Really influenced me.
421
00:17:59,226 --> 00:18:01,144
So I kind of went over
as a glitter person,
422
00:18:01,146 --> 00:18:02,715
came home dressed as a punk.
423
00:18:03,866 --> 00:18:06,904
♪ There's no point in asking,
You'll get no reply ♪
424
00:18:06,906 --> 00:18:09,113
JOAN: Yeah, so I used to buy
a lot of my accessories
425
00:18:09,115 --> 00:18:12,633
at a sex store,
SandM fetish store
426
00:18:12,635 --> 00:18:14,456
called The Pleasure Chest.
427
00:18:14,458 --> 00:18:17,050
I bought this great ring belt,
and I used to wear that.
428
00:18:17,305 --> 00:18:19,416
We were hanging out
on a houseboat
429
00:18:19,418 --> 00:18:23,834
that we had rented for a month
to record in London.
430
00:18:24,282 --> 00:18:26,715
Sid and Nancy came over
to the houseboat one night,
431
00:18:27,257 --> 00:18:31,739
and he liked my belt,
and so I gave it to him.
432
00:18:34,490 --> 00:18:36,024
SALLY HERSHBERGER:
Nobody in the United States
433
00:18:36,026 --> 00:18:39,352
was wearing, like, safety pins
on their leather jacket
434
00:18:39,354 --> 00:18:41,272
and all the chains...
435
00:18:41,274 --> 00:18:44,951
and, you know. She was a real
punk rocker in California.
436
00:18:44,953 --> 00:18:47,353
Nobody was a punk rocker.
I mean, she lived that.
437
00:18:47,355 --> 00:18:49,275
♪ 'Cause we know
What we feel... ♪
438
00:18:50,298 --> 00:18:52,631
(PERKY INTRO MUSIC PLAYING)
439
00:18:52,633 --> 00:18:55,068
ANNOUNCER:
The Runaways from USA.
440
00:18:55,451 --> 00:18:57,083
JOAN: Thank you, we're
really happy to be here.
441
00:18:57,625 --> 00:19:00,827
(MUSIC CONTINUES)
442
00:19:02,747 --> 00:19:04,569
JOAN: When we got to Japan,
you know,
443
00:19:04,571 --> 00:19:07,576
that's when I felt,
"Wow, thousands of girls,
444
00:19:07,578 --> 00:19:09,625
like, treating you like
the Beatles."
445
00:19:09,627 --> 00:19:11,544
I mean...
I know it sounds funny.
446
00:19:11,546 --> 00:19:13,305
That's the only way
you could describe it.
447
00:19:13,307 --> 00:19:15,740
(CROWD CLAMORING)
448
00:19:18,490 --> 00:19:20,507
JOAN: They love
their music stars over there,
449
00:19:20,795 --> 00:19:22,935
but it felt like we tapped
into something else
450
00:19:22,937 --> 00:19:24,377
with female audiences.
451
00:19:24,379 --> 00:19:26,456
I thought it was exhilarating,
452
00:19:26,458 --> 00:19:29,433
but just because I thought
"That's powerful, man,
453
00:19:29,435 --> 00:19:31,096
it's all girls."
454
00:19:31,098 --> 00:19:32,505
The more I thought about it,
I realized,
455
00:19:32,507 --> 00:19:34,359
"Wait, Japanese women
456
00:19:34,361 --> 00:19:36,376
are treated sort of like
second-class citizens there.
457
00:19:36,378 --> 00:19:38,234
So these teenage girls
were feeling
458
00:19:39,194 --> 00:19:42,039
the power of The Runaways
saying, "No, we can do it."
459
00:19:42,041 --> 00:19:43,932
The studio audiences went nuts.
460
00:19:44,506 --> 00:19:47,258
- (AUDIENCE CHEERING)
- Oh, God. Oh, boy. (LAUGHS)
461
00:19:47,546 --> 00:19:49,208
Okay, why don't you just
tell me about...
462
00:19:49,210 --> 00:19:50,747
Oh, they all know you very well,
463
00:19:51,290 --> 00:19:54,712
but why don't you tell me
about how this band was made?
464
00:19:54,714 --> 00:19:56,538
It wasn't until Japan
465
00:19:56,953 --> 00:19:58,392
where we actually got
a paycheck.
466
00:19:58,394 --> 00:19:59,931
We knew something was wrong
467
00:20:00,218 --> 00:20:02,233
when we weren't
really getting paid.
468
00:20:02,235 --> 00:20:04,280
We'd have to ask for money
for Tampax
469
00:20:04,282 --> 00:20:05,977
or a hamburger on the road,
470
00:20:05,979 --> 00:20:07,863
and there was
always some excuse,
471
00:20:07,865 --> 00:20:09,623
but yet we were selling out
everywhere,
472
00:20:09,625 --> 00:20:11,320
and there were the t-shirts,
473
00:20:11,322 --> 00:20:12,666
and there were all the kids
and the fans.
474
00:20:13,595 --> 00:20:17,147
In the middle of the tour,
we got this booklet.
475
00:20:17,434 --> 00:20:19,639
It was an all-color booklet.
It said "The Runaways."
476
00:20:19,641 --> 00:20:21,979
And there was like
a tiny picture of all of us,
477
00:20:22,202 --> 00:20:25,880
and then it was like foldout
soft-core porn shots
478
00:20:25,882 --> 00:20:28,184
of Cherie all the way through.
479
00:20:28,186 --> 00:20:30,200
CHERIE:
Kim made a very bad mistake.
480
00:20:30,202 --> 00:20:33,880
He set up a photo session
with the Japanese for me.
481
00:20:33,882 --> 00:20:35,864
Next thing I knew,
there was a complete tour book
482
00:20:35,866 --> 00:20:37,400
with, you know,
me in my corset.
483
00:20:37,402 --> 00:20:40,058
We're, like, going,
"What the fuck is this?"
484
00:20:40,346 --> 00:20:42,171
And we were all really annoyed
485
00:20:42,362 --> 00:20:44,184
by the fact
that Cherie had done it
486
00:20:44,186 --> 00:20:45,529
and that she
didn't say anything to us.
487
00:20:45,531 --> 00:20:47,258
CHERIE: And the girls
really thought
488
00:20:47,450 --> 00:20:50,392
that I had done that myself,
but Kim did things like that
489
00:20:50,394 --> 00:20:53,591
that caused damage to the band
490
00:20:53,593 --> 00:20:55,993
that just could not
be fixed after a while.
491
00:20:55,995 --> 00:20:58,329
You know, they ended up
not trusting me at all,
492
00:20:58,331 --> 00:21:02,108
and that caused me to separate
myself a lot from the girls.
493
00:21:02,555 --> 00:21:04,759
And Joan and I had been very,
very, very close.
494
00:21:04,761 --> 00:21:09,883
Jackie had left from Japan
kind of a broken child,
495
00:21:10,235 --> 00:21:11,739
and I was the second to go.
496
00:21:13,050 --> 00:21:16,507
JOAN: After she left the band
and after our Japanese tour,
497
00:21:16,826 --> 00:21:18,937
I didn't follow
what she was doing right away.
498
00:21:18,939 --> 00:21:21,144
Obviously, there were parts
of me that was very hurt
499
00:21:21,146 --> 00:21:23,033
by that because we were close.
500
00:21:23,035 --> 00:21:25,883
You know,
a band is like a family.
501
00:21:26,778 --> 00:21:28,696
No! No!
502
00:21:28,698 --> 00:21:31,192
If you wanna see "Cherry Bomb,"
find Cherie
503
00:21:31,194 --> 00:21:33,177
because we're fucking tired
of that song.
504
00:21:33,179 --> 00:21:35,899
(CROWD SHOUTING AND CHEERING)
505
00:21:36,378 --> 00:21:38,808
EVELYN: Shortly thereafter that,
they fired Kim Fowley.
506
00:21:38,810 --> 00:21:41,239
I think Kim's
biggest mistake in life
507
00:21:41,241 --> 00:21:43,224
was not recognizing
that Joan Jett
508
00:21:43,226 --> 00:21:45,051
was his great star
and his great discovery.
509
00:21:45,434 --> 00:21:47,864
TOBY MAMIS: Joan took over
the front person's role,
510
00:21:47,866 --> 00:21:49,944
which she earned
and which she deserved,
511
00:21:49,946 --> 00:21:53,112
but it changed the perception
of the band by the industry
512
00:21:53,114 --> 00:21:55,417
because the industry
was so focused on Cherie
513
00:21:55,419 --> 00:21:57,915
and the blonde-bombshell look,
and that's haunted
514
00:21:58,105 --> 00:22:00,216
not just the music business
but all entertainment formats,
515
00:22:00,218 --> 00:22:01,658
TV and film, for years.
516
00:22:01,883 --> 00:22:04,860
DON: What you do when
your iconic lead singer
517
00:22:05,145 --> 00:22:08,378
just is gone, you know,
and you gotta step up?
518
00:22:09,530 --> 00:22:12,377
It's kind of incredible
that she, you know,
519
00:22:12,379 --> 00:22:14,327
had the balls to even do it.
520
00:22:14,329 --> 00:22:17,272
RODNEY: So do you have a new
record or anything coming out?
521
00:22:17,274 --> 00:22:19,384
JOAN: Nope.
(LAUGHTER)
522
00:22:19,386 --> 00:22:21,560
No we're going to Europe,
right,
523
00:22:21,562 --> 00:22:23,323
two days after the Whisky,
524
00:22:23,547 --> 00:22:27,035
and we're gonna record
in either London or Berlin.
525
00:22:27,834 --> 00:22:30,776
♪ Blue-skinned
Sleeping boys ♪
526
00:22:30,778 --> 00:22:33,975
♪ Man,
You're lookin' wasted ♪
527
00:22:33,977 --> 00:22:36,696
♪ Greasy wheels,
Streets of steel ♪
528
00:22:36,698 --> 00:22:39,703
♪ No tellin' what ya tasted ♪
529
00:22:39,705 --> 00:22:42,457
JOAN: We did "Wasted"
on the TV show
530
00:22:42,459 --> 00:22:44,599
Old Grey Whistle Test
when we were in London.
531
00:22:44,601 --> 00:22:46,519
First time The Runaways
were on TV
532
00:22:46,521 --> 00:22:49,303
with me as lead singer,
which was really scary.
533
00:22:49,305 --> 00:22:51,831
♪ Sad you are so shattered ♪
534
00:22:51,833 --> 00:22:53,625
Everything was just
kind of splintering.
535
00:22:53,627 --> 00:22:57,339
I felt the album was going in a
very heavy direction musically,
536
00:22:57,529 --> 00:23:00,920
and I could feel
a camaraderie between Sandy,
537
00:23:00,922 --> 00:23:03,607
Lita and this producer,
John Alcock,
538
00:23:03,609 --> 00:23:05,275
and I was not part of it.
539
00:23:05,561 --> 00:23:08,151
He drove a wedge between Sandy
and Lita on one side
540
00:23:08,153 --> 00:23:10,779
and Joan on the other
that destroyed the band.
541
00:23:10,970 --> 00:23:12,504
You know,
I'm not gonna get fired
542
00:23:12,506 --> 00:23:16,216
from a band I started,
so we're not on the same page.
543
00:23:16,218 --> 00:23:19,451
So I should probably
let you guys do your thing.
544
00:23:20,122 --> 00:23:22,904
You know, we'd always
been close enough to laugh
545
00:23:22,906 --> 00:23:24,952
and all that stuff,
and you could tell
546
00:23:24,954 --> 00:23:26,779
those sort of elements
were leaving.
547
00:23:27,194 --> 00:23:29,307
You know, you felt like
you had to walk on eggshells,
548
00:23:29,499 --> 00:23:31,192
and I didn't want to fight.
549
00:23:31,194 --> 00:23:34,427
You know, I loved these girls.
It was our baby.
550
00:23:34,811 --> 00:23:37,274
♪ It doesn't
Really matter... ♪
551
00:23:37,690 --> 00:23:40,154
CHRIS: I remember at the end
of The Runaways period,
552
00:23:40,923 --> 00:23:43,959
she, you know, gained weight
and was really bummed out
553
00:23:43,961 --> 00:23:45,435
as it was closing.
554
00:23:45,658 --> 00:23:49,497
If they had, you know,
proper management, you know,
555
00:23:49,499 --> 00:23:52,635
they probably would have gone
a lot further a lot longer.
556
00:24:00,282 --> 00:24:01,847
JOAN: How did I personally deal
557
00:24:01,849 --> 00:24:03,547
with the crumbling
of The Runaways?
558
00:24:05,178 --> 00:24:07,960
I drank a lot starting
at 8:00 in the morning.
559
00:24:07,962 --> 00:24:09,400
Not a good thing.
560
00:24:09,402 --> 00:24:10,683
Not a good way to deal
with things.
561
00:24:10,875 --> 00:24:14,108
No, it got heavier than that.
Definitely.
562
00:24:14,458 --> 00:24:16,987
Felt like LA was totally
laughing at me going,
563
00:24:17,210 --> 00:24:19,448
"We told you it wouldn't work.
564
00:24:19,450 --> 00:24:21,624
We told you
you couldn't do it."
565
00:24:21,626 --> 00:24:24,920
DEBBIE: She moved to Sunset
and San Vicente
566
00:24:24,922 --> 00:24:26,970
in that weird house
across from the Whisky.
567
00:24:27,194 --> 00:24:29,176
It was decadent, honey.
568
00:24:29,178 --> 00:24:31,832
I would go by there,
and it was like
569
00:24:31,834 --> 00:24:33,817
tons of people all over
the living room,
570
00:24:33,819 --> 00:24:35,993
and I remember being
with Chrissie Hynde,
571
00:24:35,995 --> 00:24:38,392
and Chrissie's like,
"Honey," to Joan,
572
00:24:38,394 --> 00:24:39,770
"You gotta pull it together."
573
00:24:40,186 --> 00:24:44,538
TOBY: Her friend Lisa called
and said, "Joan's very sick.
574
00:24:45,017 --> 00:24:46,519
"I have to take her
to the emergency room.
575
00:24:46,521 --> 00:24:48,440
She's sweating.
She's very sick.
576
00:24:48,442 --> 00:24:50,907
Something's wrong,"
and she had a heart infection.
577
00:24:51,354 --> 00:24:55,064
And she ended up in Cedars,
and it was pretty scary.
578
00:24:55,066 --> 00:24:58,043
I'm lucky I'm still here.
579
00:24:58,458 --> 00:24:59,896
I know my mom
was really worried about her.
580
00:24:59,898 --> 00:25:01,338
It was a really hard time.
581
00:25:01,946 --> 00:25:03,483
She was really depressed
582
00:25:03,674 --> 00:25:05,719
because she had high hopes
for The Runaways.
583
00:25:05,721 --> 00:25:07,513
TOBY: It is funny
that it's a heart infection
584
00:25:07,515 --> 00:25:10,203
because she did have a broken
heart for losing The Runaways.
585
00:25:10,394 --> 00:25:12,023
JOAN: I was angry.
586
00:25:12,025 --> 00:25:13,976
I didn't know how to make sense
of a world
587
00:25:13,978 --> 00:25:17,079
that would give girls shit
for playing guitars, you know?
588
00:25:17,081 --> 00:25:20,730
Like, "Don't you have important
things to be upset about?"
589
00:25:21,594 --> 00:25:25,179
(MELANCHOLY
GUITAR MUSIC PLAYING)
590
00:25:25,593 --> 00:25:28,283
I thought, you know,
I'm gonna fucking kill myself.
591
00:25:28,666 --> 00:25:30,615
Accidentally,
but I'm gonna do it.
592
00:25:30,617 --> 00:25:32,535
I gotta do something.
What can I do?
593
00:25:32,537 --> 00:25:35,480
Maybe I'll join a branch
of the military,
594
00:25:35,482 --> 00:25:37,785
straighten up,
learn something.
595
00:25:37,787 --> 00:25:42,073
I considered that because
I didn't know what else to do,
596
00:25:42,075 --> 00:25:45,047
but we still had
some legal obligations.
597
00:25:45,049 --> 00:25:47,800
We had signed to do
the music for a movie,
598
00:25:47,802 --> 00:25:49,720
and even though the band
wasn't together anymore,
599
00:25:49,722 --> 00:25:52,312
I cannot get sued,
I can't afford to get sued.
600
00:25:52,314 --> 00:25:54,264
I need to write these songs.
601
00:25:54,266 --> 00:25:56,504
KENNY LAGUNA: I went through
a few offers to produce them,
602
00:25:56,506 --> 00:25:58,072
and I wasn't really interested.
603
00:25:58,074 --> 00:26:01,659
Although I was intrigued
by five crazy girls
604
00:26:03,161 --> 00:26:07,159
who were attractive,
took a lot of drugs,
605
00:26:07,161 --> 00:26:09,592
made good music,
and the band broke up.
606
00:26:09,594 --> 00:26:11,352
And they were teenage girls
so they didn't care
607
00:26:11,354 --> 00:26:13,752
about commitments
or responsibility.
608
00:26:13,754 --> 00:26:15,448
I probably would have
turned it down again.
609
00:26:15,450 --> 00:26:16,603
I was in England.
610
00:26:16,795 --> 00:26:18,456
Joan Jett
was the only one left
611
00:26:18,458 --> 00:26:20,152
who was gonna live up
to the commitment.
612
00:26:20,154 --> 00:26:24,760
They had eight days to create
six songs when Toby called me.
613
00:26:24,762 --> 00:26:28,184
TOBY: Before John Alcott,
I had thought of Kenny Laguna
614
00:26:28,186 --> 00:26:30,136
as a guy who might produce
this Runaways album.
615
00:26:30,138 --> 00:26:32,664
He blew me off.
I went back to Kenny Laguna
616
00:26:32,666 --> 00:26:34,328
because I'm obviously
a masochist.
617
00:26:34,330 --> 00:26:35,895
"I know you're
a good songwriter,
618
00:26:35,897 --> 00:26:38,551
and I really think
that you'd click with Joan."
619
00:26:38,553 --> 00:26:40,091
KENNY: My wife Meryl
said to me,
620
00:26:40,346 --> 00:26:42,075
"I've been reading
about Joan Jett.
621
00:26:42,266 --> 00:26:43,575
I think she's significant."
622
00:26:43,577 --> 00:26:45,495
I was in the studio
with him,
623
00:26:45,497 --> 00:26:48,951
and I used to read
"Melody Maker" and the "NME,"
624
00:26:48,953 --> 00:26:50,648
and there was a picture
of The Runaways,
625
00:26:50,650 --> 00:26:53,242
and Joan just popped
out of the picture.
626
00:26:53,657 --> 00:26:56,474
I said,
"I think this girl's got it."
627
00:26:56,698 --> 00:26:59,259
KENNY: And we went and stayed
at the Riot House,
628
00:26:59,642 --> 00:27:01,179
the Hyatt House on Sunset,
629
00:27:01,402 --> 00:27:03,227
and Joan walked in the room
with Toby,
630
00:27:03,642 --> 00:27:06,743
and I saw this girl
with a black leather jacket,
631
00:27:06,745 --> 00:27:08,600
and she was a little beat up
by then.
632
00:27:08,602 --> 00:27:10,200
She was drinking.
633
00:27:10,202 --> 00:27:11,800
She was hanging
out with Sid Vicious
634
00:27:11,802 --> 00:27:14,872
and Stiv Bators,
Sid's girlfriend Nancy,
635
00:27:14,874 --> 00:27:17,112
and a bunch of people
who all ended up dead.
636
00:27:17,114 --> 00:27:18,840
She had a sad look in her eye.
637
00:27:18,842 --> 00:27:21,143
MERYL LAGUNA: She was
this lost waif,
638
00:27:21,145 --> 00:27:24,792
and your heart
just went out for her
639
00:27:24,794 --> 00:27:29,947
'cause you could see she was
so upset and destroyed by it.
640
00:27:30,425 --> 00:27:33,115
You know,
I was pretty much a mess.
641
00:27:33,306 --> 00:27:34,523
Hi, guys.
642
00:27:35,066 --> 00:27:37,432
But he saw something.
643
00:27:37,434 --> 00:27:39,193
I don't know
what it was, you know?
644
00:27:39,385 --> 00:27:41,786
He bought me a pair
of pants first, though.
645
00:27:42,906 --> 00:27:44,600
Because
he couldn't write songs
646
00:27:44,602 --> 00:27:47,544
with a person
with ripped jeans or something.
647
00:27:47,546 --> 00:27:49,815
KENNY: We head into the studio,
and I said,
648
00:27:49,817 --> 00:27:52,089
"We'll cut the tracks
with the session guys,
649
00:27:52,091 --> 00:27:53,592
and then we'll put
your guitar on.
650
00:27:53,594 --> 00:27:55,127
It's no big deal."
651
00:27:55,129 --> 00:27:56,890
She goes,
"Then it won't be a record,"
652
00:27:57,177 --> 00:27:59,096
and she wasn't kidding,
but I dug it.
653
00:27:59,098 --> 00:28:00,824
JOAN: (SINGING)
One, two, three, four!
654
00:28:00,826 --> 00:28:02,296
JOAN: (INTERVIEW)
So we fulfilled the contract.
655
00:28:02,298 --> 00:28:05,113
It wound up being on
some weirdo porn movie,
656
00:28:05,753 --> 00:28:07,608
which was not
what we signed up for.
657
00:28:07,610 --> 00:28:11,832
MAN: Joanie Jett, she's got the
greatest voice I've ever seen!
658
00:28:11,834 --> 00:28:14,455
Now, I went out to California
to meet Joan
659
00:28:14,457 --> 00:28:16,793
with a fella named
Ritchie Cordell.
660
00:28:16,795 --> 00:28:18,424
I said, "You know, Ritchie,
661
00:28:18,426 --> 00:28:20,024
I think we can we have hits
with her.
662
00:28:20,026 --> 00:28:22,104
I think we should make her
a partner."
663
00:28:22,106 --> 00:28:23,512
"What, do you wanna fuck her?"
664
00:28:23,514 --> 00:28:24,858
KENNY: "We're gonna steal
her money."
665
00:28:25,114 --> 00:28:27,067
(LAUGHS)
I'll never forget it.
666
00:28:27,257 --> 00:28:30,103
♪ I want you like I never
wanted anythin' else... ♪
667
00:28:30,105 --> 00:28:33,431
KENNY: But I knew that this girl
should be a partner.
668
00:28:33,433 --> 00:28:34,904
She was that unique.
669
00:28:34,906 --> 00:28:36,601
JOAN: Things were definitely
looking up.
670
00:28:36,603 --> 00:28:38,392
I felt good, I felt, "Okay,
671
00:28:38,394 --> 00:28:40,824
I've got someone to talk to,
to write music with.
672
00:28:40,826 --> 00:28:42,299
Let's see where this goes."
673
00:28:42,553 --> 00:28:44,184
♪ Yeah! ♪
674
00:28:44,186 --> 00:28:45,495
KENNY: And then I took her
to England.
675
00:28:45,497 --> 00:28:47,992
I had a flat
on the Kings Road,
676
00:28:47,994 --> 00:28:50,299
and every day,
we'd go to Ramport,
677
00:28:50,873 --> 00:28:53,658
The Who's studio, and
record the Joan Jett record.
678
00:28:53,978 --> 00:28:55,546
BILL CURBISHLEY: I was
introduced to Kenny
679
00:28:55,738 --> 00:28:57,465
by a guy called Peter Meaden,
680
00:28:57,723 --> 00:28:59,703
a real character,
and in so doing,
681
00:28:59,705 --> 00:29:02,331
he also came to me with
an artist called Steve Gibbons,
682
00:29:02,810 --> 00:29:07,063
and Kenny produced the album
for Steve Gibbons,
683
00:29:07,065 --> 00:29:07,995
a fantastic album.
684
00:29:08,314 --> 00:29:09,851
♪ Go ahead on, Tulane ♪
685
00:29:10,073 --> 00:29:11,831
♪ He can't catch up
With you ♪
686
00:29:11,833 --> 00:29:14,295
♪ Go, Tulane, he ain't
Man enough for you ♪
687
00:29:14,297 --> 00:29:17,240
♪ Go, Tulane,
Use all the speed... ♪
688
00:29:17,242 --> 00:29:20,184
But the thing he's got
extra is he's got great ears.
689
00:29:20,186 --> 00:29:22,711
He can produce.
He knows what he wants.
690
00:29:22,713 --> 00:29:24,249
(PLAYS PIANO CHORD)
691
00:29:24,251 --> 00:29:25,562
KENNY: I was born
in the Village,
692
00:29:25,785 --> 00:29:30,360
and my parents were...
predated hippies and beatniks.
693
00:29:30,362 --> 00:29:31,546
They were Bohemian.
694
00:29:32,634 --> 00:29:36,314
They started me on piano
lessons five years old.
695
00:29:36,506 --> 00:29:38,904
I learned Mozart and Bach,
696
00:29:38,906 --> 00:29:42,042
and then
I saw "Jailhouse Rock,"
697
00:29:42,521 --> 00:29:45,432
and he was doing art,
and he still had a Cadillac,
698
00:29:45,434 --> 00:29:46,873
and that was all
I needed to know.
699
00:29:47,290 --> 00:29:48,855
When I was about 16,
700
00:29:48,857 --> 00:29:52,823
I moseyed into New York City
and started hustling.
701
00:29:52,825 --> 00:29:56,056
They gave me a songwriting job
at Kama Sutra Records,
702
00:29:56,058 --> 00:29:58,874
and their specialty
was bubblegum music.
703
00:29:59,162 --> 00:30:00,346
♪ Sugar ♪
704
00:30:01,401 --> 00:30:03,067
♪ Oh, honey, honey ♪
705
00:30:03,258 --> 00:30:04,983
KENNY: ...which was coined
by Neil Bogart,
706
00:30:04,985 --> 00:30:06,168
the great record exec.
707
00:30:06,170 --> 00:30:08,408
♪ You are my candy girl... ♪
708
00:30:08,410 --> 00:30:10,775
DON: Kenny Laguna did
some great stuff pre-Joan.
709
00:30:10,777 --> 00:30:12,407
I don't know where we would've
been without that guy.
710
00:30:12,409 --> 00:30:14,200
He was a bubblegum hero.
711
00:30:14,202 --> 00:30:15,864
ADAM HOROVITZ: Our generation,
when we were kids,
712
00:30:15,866 --> 00:30:17,434
that's what the music was.
713
00:30:17,626 --> 00:30:19,479
No guilty pleasure.
714
00:30:19,481 --> 00:30:22,936
It's just like, "Look, we're
making this music to make money.
715
00:30:22,938 --> 00:30:24,440
KATHLEEN HANNA: "We're gonna
sell it to kids.
716
00:30:24,442 --> 00:30:26,359
"We're gonna turn it into,
like, you know,
717
00:30:26,361 --> 00:30:29,977
records that are on literally
the back of the cereal box."
718
00:30:30,202 --> 00:30:32,023
All the songs were,
like, about, like,
719
00:30:32,025 --> 00:30:35,736
naughty sexual things
that they sort of acted
720
00:30:35,738 --> 00:30:38,458
like they were about candy
and bubblegum.
721
00:30:39,802 --> 00:30:42,584
♪ Yummy, yummy, yummy
I got love in my tummy ♪
722
00:30:42,586 --> 00:30:45,082
♪ And I feel like
a-lovin' you ♪
723
00:30:46,362 --> 00:30:47,994
♪ Love, you're such
a sweet thing... ♪
724
00:30:48,217 --> 00:30:51,032
One of our little sayings
was "Don't bore us.
725
00:30:51,034 --> 00:30:52,507
Get right to the chorus."
726
00:30:53,978 --> 00:30:55,448
But something weird happened.
727
00:30:55,450 --> 00:30:56,952
When the punks
got on the scene,
728
00:30:56,954 --> 00:30:59,000
they didn't like
Crosby, Stills, and Nash.
729
00:30:59,002 --> 00:31:00,471
They hated Neil Young.
730
00:31:00,473 --> 00:31:02,746
They thought those bands
were pretentious.
731
00:31:03,162 --> 00:31:05,143
IAN MACKAYE: I am a hook guy.
Kenny and I share that.
732
00:31:05,145 --> 00:31:06,266
I like a hook.
733
00:31:06,490 --> 00:31:08,279
Problem with bubblegum
is that sometimes,
734
00:31:08,281 --> 00:31:10,360
it's was so saccharine, for me,
it was almost unlistenable.
735
00:31:10,362 --> 00:31:12,824
DON: There was a lot of shared
DNA between bubblegum and punk.
736
00:31:12,826 --> 00:31:16,280
Bubblegum was short,
to-the-point little songs
737
00:31:16,282 --> 00:31:18,487
with hooks
and an ass-kicking beat.
738
00:31:18,489 --> 00:31:19,801
KENNY: And that was punk.
739
00:31:20,697 --> 00:31:21,946
♪ They're going
Through a tight wind ♪
740
00:31:23,417 --> 00:31:24,920
♪ The kids are losing
Their minds ♪
741
00:31:24,922 --> 00:31:26,455
♪ The blitzkrieg bop ♪
742
00:31:26,457 --> 00:31:28,503
KENNY: I was making 100 grand
when I was 17.
743
00:31:28,505 --> 00:31:29,719
I remember my father said,
744
00:31:29,721 --> 00:31:31,287
"You should try to save
some money."
745
00:31:31,289 --> 00:31:32,663
I said, "I can have a hit
anytime I want."
746
00:31:32,665 --> 00:31:34,970
By the time I was 19,
bubblegum died,
747
00:31:35,226 --> 00:31:37,338
but we wanted to be cooler
than bubblegum.
748
00:31:37,753 --> 00:31:41,111
(DISJOINTED
INSTRUMENTAL MUSIC PLAYING)
749
00:31:41,113 --> 00:31:44,505
KENNY: I did a soundtrack album
for Andy Warhol,
750
00:31:44,985 --> 00:31:48,824
Lonesome Cowboys,
and I used orchestration.
751
00:31:48,826 --> 00:31:51,416
I was putting horns on
and then strings
752
00:31:51,418 --> 00:31:53,050
without much of a plot line.
753
00:31:53,594 --> 00:31:56,504
Just very effeminate guys
dressed as cowboys
754
00:31:56,506 --> 00:31:58,103
hanging out together,
755
00:31:58,105 --> 00:32:00,728
and I remember giving
a spiel to Andy Warhol
756
00:32:00,730 --> 00:32:02,811
and Paul Morrissey
about the art,
757
00:32:03,194 --> 00:32:06,551
and Morrissey said,
"Don't talk to us about art.
758
00:32:06,553 --> 00:32:08,855
We hired you
because we want money."
759
00:32:08,857 --> 00:32:10,330
It was very shocking to me
760
00:32:10,841 --> 00:32:13,305
because I grew up
with artists
761
00:32:13,497 --> 00:32:15,671
who thought it was gauche
to want money.
762
00:32:15,673 --> 00:32:17,208
PETE TOWNSHEND: I really
liked Kenny
763
00:32:17,210 --> 00:32:18,520
from the first moment
I met him.
764
00:32:18,522 --> 00:32:22,074
I don't know why.
I always have.
765
00:32:22,361 --> 00:32:25,334
(STRUMMING CHORDS)
766
00:32:25,336 --> 00:32:30,200
I remember saying to Kenny,
maybe getting a bit bored,
767
00:32:30,202 --> 00:32:31,799
I don't know,
but just saying, you know,
768
00:32:31,801 --> 00:32:32,986
"Go talk to Bill."
769
00:32:33,529 --> 00:32:36,854
- Stop all this shit.
- Oh, Bill! Oh, my God.
770
00:32:36,856 --> 00:32:38,777
- How you doing?
- What's all this shit?
771
00:32:39,225 --> 00:32:42,266
KENNY: What affected me
was their self-belief,
772
00:32:42,521 --> 00:32:44,986
but under the self-belief,
there's a fear,
773
00:32:45,273 --> 00:32:46,552
"Oh, is it ever gonna happen?"
774
00:32:46,554 --> 00:32:48,442
Or, "Are we ever
gonna get a break?"
775
00:32:48,825 --> 00:32:51,034
And for me,
life's about that.
776
00:32:51,225 --> 00:32:53,175
JOAN: And Bill said to Kenny,
"You know what?
777
00:32:53,177 --> 00:32:55,610
"Why don't you just go
into our studio, Ramport,
778
00:32:55,801 --> 00:32:57,946
do what you gotta do
and pay us when you can?"
779
00:32:58,777 --> 00:32:59,770
Now I'm in business.
780
00:33:00,378 --> 00:33:05,207
And that was the start
of their relationship and ours.
781
00:33:05,209 --> 00:33:07,127
I'll tell you all
about this girl.
782
00:33:07,129 --> 00:33:10,202
I'll tell you the truth
about this girl. Mwah!
783
00:33:10,425 --> 00:33:12,504
It felt you were kind of
blessed by, you know,
784
00:33:12,506 --> 00:33:14,391
the rock-n'-roll gods,
and then we were like,
785
00:33:14,393 --> 00:33:16,280
"Well, we want to tour
this music.
786
00:33:16,282 --> 00:33:17,624
This is great."
787
00:33:17,626 --> 00:33:20,152
So we needed to form a band.
788
00:33:20,154 --> 00:33:23,543
And went back to LA,
put an ad in The LA Weekly
789
00:33:23,545 --> 00:33:24,855
or something and said,
790
00:33:24,857 --> 00:33:27,672
"Joan Jett looking
for three good men."
791
00:33:27,674 --> 00:33:31,129
♪ ("LOVE IS PAIN" BY JOAN JETT
AND THE BLACKHEARTS PLAYS) ♪
792
00:33:36,280 --> 00:33:39,224
I remember very clearly
going to the audition.
793
00:33:39,226 --> 00:33:40,952
I knew all The Runaways songs
794
00:33:40,954 --> 00:33:43,576
because as a 13-year-old kid,
14-year-old kid,
795
00:33:43,578 --> 00:33:45,691
I'd been at home
playing along with the records.
796
00:33:45,913 --> 00:33:48,601
♪ Hey, you must obey ♪
797
00:33:48,793 --> 00:33:51,863
♪ Or you will bleed, you know
I need to get my way... ♪
798
00:33:51,865 --> 00:33:54,551
And Joan knew me from
the punk scene.
799
00:33:54,553 --> 00:33:56,632
JOAN: I kind of knew in my gut
800
00:33:56,634 --> 00:33:59,930
that there's no way
I could play with girls again,
801
00:34:00,186 --> 00:34:01,943
certainly not right away
802
00:34:01,945 --> 00:34:03,352
because it would only
be compared to The Runaways,
803
00:34:03,354 --> 00:34:05,147
and that was not good
on any level.
804
00:34:05,529 --> 00:34:07,163
ERIC AMBEL: We got
the Whisky A Go Go,
805
00:34:07,898 --> 00:34:09,879
and we picked the worst night
of the week,
806
00:34:09,881 --> 00:34:11,259
which was Tuesday,
807
00:34:11,705 --> 00:34:13,912
and we played there every week
for a month,
808
00:34:13,914 --> 00:34:16,663
and by the time
we were done with that,
809
00:34:16,665 --> 00:34:18,711
we were on the map there
in LA.
810
00:34:18,713 --> 00:34:21,562
All of a sudden, there's...
there's a lot of chicks here.
811
00:34:22,104 --> 00:34:24,504
I'm kind of getting into it,
and by the last gig,
812
00:34:24,506 --> 00:34:26,743
I was like, "Well,
wait a minute, they're...
813
00:34:26,745 --> 00:34:28,214
they're looking at her."
814
00:34:28,216 --> 00:34:29,879
KATHLEEN: You've got
this weird punk rocker
815
00:34:29,881 --> 00:34:33,498
who has an extraterrestrial
good voice,
816
00:34:33,977 --> 00:34:37,435
and then you have someone
who's worked in the business
817
00:34:37,625 --> 00:34:38,778
of making bubblegum music.
818
00:34:39,353 --> 00:34:42,743
♪ I was caught
So unaware ♪
819
00:34:42,745 --> 00:34:45,241
♪ When you made other plans ♪
820
00:34:46,233 --> 00:34:48,022
KENNY: She brought menace,
821
00:34:48,024 --> 00:34:49,946
and I brought a lot
of pop sensibility.
822
00:34:50,137 --> 00:34:52,282
♪ More than you
Could stand ♪
823
00:34:53,177 --> 00:34:55,610
♪ You don't know
What you've got ♪
824
00:34:56,506 --> 00:34:58,971
♪ You don't know
What you've got ♪
825
00:34:59,800 --> 00:35:02,810
♪ You don't know what
You've got till it's gone ♪
826
00:35:03,193 --> 00:35:05,111
You mix that together,
827
00:35:05,113 --> 00:35:07,544
and you've got, like,
a Molotov cocktail
828
00:35:07,546 --> 00:35:11,130
that's gonna, like,
totally do some... damage.
829
00:35:11,898 --> 00:35:13,687
JOAN: First one we wrote was
830
00:35:13,689 --> 00:35:15,736
"You Don't Know What
You've Got Till It's Gone."
831
00:35:15,738 --> 00:35:19,031
To me, you know,
Kenny was taking my life.
832
00:35:19,033 --> 00:35:21,081
You know,
I guess being a therapist.
833
00:35:21,528 --> 00:35:22,999
KENNY: And the more
we knew each other,
834
00:35:23,001 --> 00:35:24,410
the more she trusted me.
835
00:35:24,602 --> 00:35:26,679
♪ You don't know
What you've got ♪
836
00:35:26,681 --> 00:35:30,939
♪ You don't know what
You've got till it's gone ♪
837
00:35:31,129 --> 00:35:34,936
Joan sort of needs
to experience heartache
838
00:35:34,938 --> 00:35:36,374
to write about it.
839
00:35:36,376 --> 00:35:38,905
♪ I gave you love
So true ♪
840
00:35:39,130 --> 00:35:40,699
♪ But you ran away ♪
841
00:35:40,890 --> 00:35:43,418
♪ So you just don't know
Whatcha blew ♪
842
00:35:44,537 --> 00:35:45,913
♪ Yeah, yeah ♪
843
00:35:46,106 --> 00:35:48,409
JOAN: Kenny actually
was looking for record deals.
844
00:35:48,664 --> 00:35:50,394
So Kenny would send
the tapes in.
845
00:35:50,680 --> 00:35:54,422
We sent it to all the labels,
all the majors, all the minors.
846
00:35:54,424 --> 00:35:56,024
That was 23 labels,
847
00:35:56,026 --> 00:35:58,522
and we got back 23
rejection letters
848
00:35:59,224 --> 00:36:03,319
all saying,
"You need a song search.
849
00:36:03,321 --> 00:36:06,935
No songs here.
Maybe if she loses the guitar."
850
00:36:06,937 --> 00:36:12,409
These people heard five songs,
four of which were top-20 hits.
851
00:36:12,920 --> 00:36:16,598
That can't be a song search.
That's you don't have ears.
852
00:36:16,600 --> 00:36:18,234
KENNY: We asked for no money.
853
00:36:18,424 --> 00:36:20,056
JOAN: Just put out the record.
854
00:36:20,058 --> 00:36:22,201
I know it had something
to do with my image,
855
00:36:22,393 --> 00:36:23,898
The Runaways, the girl.
856
00:36:24,153 --> 00:36:26,647
I think Kenny thought it
was going to be a lot easier
857
00:36:26,649 --> 00:36:28,729
than it ultimately
turned out to be.
858
00:36:30,074 --> 00:36:34,619
KENNY: My mom
was an outrageous feminist.
859
00:36:34,906 --> 00:36:36,505
She used to drive the car,
860
00:36:36,698 --> 00:36:40,154
and my father sat where
everybody else's mother sat.
861
00:36:40,345 --> 00:36:43,130
So when I met Joan
and heard about The Runaways,
862
00:36:43,385 --> 00:36:46,106
I never really thought
it was, like, weird
863
00:36:46,521 --> 00:36:48,859
or groundbreaking
until I tried to promote her,
864
00:36:49,145 --> 00:36:54,074
and I ran into these...
walls, these brick walls.
865
00:36:54,489 --> 00:36:56,505
An interviewer
who once said to her,
866
00:36:57,017 --> 00:36:58,615
"When you're playing on stage,
867
00:36:58,617 --> 00:37:00,566
do you feel like a man
or a woman?"
868
00:37:00,568 --> 00:37:02,106
And I was like, what?
869
00:37:02,393 --> 00:37:04,694
INTERVIEWER: Could you ever see
yourself getting married?
870
00:37:04,696 --> 00:37:06,678
No, you know,
I don't like to knock
871
00:37:06,680 --> 00:37:08,472
the American dream
or anything...
872
00:37:08,474 --> 00:37:09,883
Do you ever
want to have children?
873
00:37:10,456 --> 00:37:12,954
No. (LAUGHS)
874
00:37:13,241 --> 00:37:16,215
If you really want
to be a musician, now,
875
00:37:16,217 --> 00:37:18,232
that's where you gotta really
do some soul-searching
876
00:37:18,234 --> 00:37:20,471
and decide, do I want
to be a musician,
877
00:37:20,473 --> 00:37:22,038
or do I want to be
a flash in the pan
878
00:37:22,040 --> 00:37:24,247
and ride in limos for a week?
879
00:37:24,249 --> 00:37:26,329
You gotta decide what you want
to do with your life.
880
00:37:26,521 --> 00:37:29,338
♪ Are you in the mood
For a lot of singing? ♪
881
00:37:29,560 --> 00:37:32,534
(CROWD CHEERS)
882
00:37:32,536 --> 00:37:36,216
♪ Are you in the mood
For a lot of singing? ♪
883
00:37:36,218 --> 00:37:37,627
(CROWD CHEERS)
884
00:37:38,138 --> 00:37:39,927
ERIC: Kenny Laguna came over,
885
00:37:39,929 --> 00:37:42,167
and he literally
pulled out the map.
886
00:37:42,169 --> 00:37:46,390
He's like, "Look, here's Boston,
New York, Washington, DC.
887
00:37:46,392 --> 00:37:47,959
Look at all these towns."
888
00:37:47,961 --> 00:37:50,327
JOAN: In LA, there's
a limited amount of cities
889
00:37:50,329 --> 00:37:52,216
you can hit when you're
a poor band
890
00:37:52,218 --> 00:37:54,519
and you're struggling,
making every penny count.
891
00:37:54,521 --> 00:37:56,215
ERIC: He just convinced us
on the spot
892
00:37:56,217 --> 00:37:57,561
that we would move
to New York.
893
00:37:58,073 --> 00:38:00,313
(DRUMBEAT PLAYING)
894
00:38:01,273 --> 00:38:02,358
♪ Yeah... ♪
895
00:38:02,360 --> 00:38:03,670
KENNY: It was a circuit.
896
00:38:03,672 --> 00:38:05,175
There was The Rat in Boston,
897
00:38:05,177 --> 00:38:07,447
The Malibu
and My Father's Place,
898
00:38:07,449 --> 00:38:09,720
Privates and The Ritz
in New York,
899
00:38:09,722 --> 00:38:11,418
The Left Bank in Westchester,
900
00:38:11,673 --> 00:38:13,719
these places
that were incubators
901
00:38:13,721 --> 00:38:16,376
for rock bands,
and they'd give you $500.
902
00:38:16,378 --> 00:38:17,783
Didn't cover much.
903
00:38:17,785 --> 00:38:19,542
JOAN: But you had
a lot more opportunity
904
00:38:19,544 --> 00:38:21,145
to play and survive.
905
00:38:22,393 --> 00:38:24,154
♪ Yeah, oh, yeah... ♪
906
00:38:24,377 --> 00:38:26,809
KENNY: We got a minor deal
in Europe.
907
00:38:27,224 --> 00:38:29,239
That was the beginning,
908
00:38:29,241 --> 00:38:31,898
but we couldn't get
anything going in America.
909
00:38:33,433 --> 00:38:34,903
And all of a sudden,
we find out
910
00:38:34,905 --> 00:38:36,952
that we are
the number-one import.
911
00:38:36,954 --> 00:38:38,903
The record's on the radio,
912
00:38:38,905 --> 00:38:40,791
and nobody wants
to be our label.
913
00:38:40,793 --> 00:38:43,927
I'm seeing something going on
that I can't put my finger on,
914
00:38:43,929 --> 00:38:45,494
but I know we're tapping
into something.
915
00:38:45,496 --> 00:38:48,790
So it gave me the courage
to empty our bank account.
916
00:38:48,792 --> 00:38:51,000
My daughter was just born.
She's only a couple months old.
917
00:38:51,002 --> 00:38:52,727
And we started a college fund,
918
00:38:52,729 --> 00:38:54,074
so there was like $3,000
or $4,000 in there.
919
00:38:54,873 --> 00:38:57,783
I mean, it was like
I jumped off the diving board,
920
00:38:57,785 --> 00:38:59,672
and I was hoping somebody
was gonna put water in the pool.
921
00:38:59,674 --> 00:39:01,239
JOAN: But we discussed
about, you know,
922
00:39:01,241 --> 00:39:02,743
"Let's print up
these records.
923
00:39:02,745 --> 00:39:04,758
We'll make our own records...
nobody's gonna sign us.
924
00:39:04,760 --> 00:39:06,682
We'll take music
we believe in so much
925
00:39:07,066 --> 00:39:08,315
and just do it."
926
00:39:08,536 --> 00:39:12,311
(ROCK MUSIC PLAYING)
927
00:39:12,313 --> 00:39:14,935
JOAN: Our first office
was, more or less,
928
00:39:14,937 --> 00:39:17,624
Kenny's big,
huge Cadillac.
929
00:39:17,626 --> 00:39:21,307
KENNY: And so we had this big
old 1976 Sedan de Ville
930
00:39:21,497 --> 00:39:23,290
We used to always have
records in the trunk.
931
00:39:23,545 --> 00:39:26,167
♪ Temperature
Is running high ♪
932
00:39:26,169 --> 00:39:28,215
JOAN: You know, we'd hang out,
and there'd be a little crowd
933
00:39:28,217 --> 00:39:30,455
of 30 or 40 people,
and we'd sign autographs
934
00:39:30,457 --> 00:39:31,990
and then if anybody
wanted the record,
935
00:39:31,992 --> 00:39:33,463
we had the trunk
full of albums.
936
00:39:33,465 --> 00:39:35,191
KENNY: And it wasn't done.
937
00:39:35,193 --> 00:39:37,239
In those days, you did not
sell records at gigs.
938
00:39:37,241 --> 00:39:39,127
JOAN: It wasn't part
of the landscape yet.
939
00:39:39,129 --> 00:39:41,690
♪ Yeah, yeah,
Do you wanna touch? ♪
940
00:39:41,882 --> 00:39:43,670
♪ Yeah!
Do you wanna touch? ♪
941
00:39:43,672 --> 00:39:46,998
♪ Yeah! Do you wanna
Touch me there, where ♪
942
00:39:47,000 --> 00:39:48,409
♪ Do you wanna... ♪
943
00:39:48,664 --> 00:39:50,169
And that was the beginning
of Blackheart Records.
944
00:39:50,393 --> 00:39:51,798
We're not getting
any traction?
945
00:39:51,800 --> 00:39:53,401
Like, fuck it,
we'll put out our own records.
946
00:39:53,720 --> 00:39:55,929
I don't know if that came out
of a punk aesthetic.
947
00:39:56,184 --> 00:39:58,070
Maybe it did,
or maybe it was just
948
00:39:58,072 --> 00:39:59,930
that they were just punks
before they knew it.
949
00:40:00,185 --> 00:40:02,906
BILLIE JOE: Oh, you mean
I don't need to have someone
950
00:40:03,161 --> 00:40:04,698
trying to discover me?
951
00:40:04,921 --> 00:40:06,841
I can actually
just do this myself?
952
00:40:07,034 --> 00:40:09,626
♪ Oh, yeah ♪
953
00:40:09,913 --> 00:40:11,961
KENNY: In the beginning,
the first gig we did
954
00:40:12,698 --> 00:40:14,713
was at The Malibu
in Long Island.
955
00:40:15,352 --> 00:40:16,761
Fifty-four people came.
956
00:40:17,305 --> 00:40:20,503
Twenty-five of them were
my guest list for my neighbors.
957
00:40:20,505 --> 00:40:22,326
ERIC: The next time
we played there,
958
00:40:22,328 --> 00:40:24,953
they had to shut down
the Southern State Parkway.
959
00:40:25,178 --> 00:40:28,183
♪ My, my, my,
Whiskey and rye ♪
960
00:40:28,185 --> 00:40:31,097
♪ Don't it make you feel
So fine? ♪
961
00:40:31,833 --> 00:40:35,287
♪ Right or wrong,
Don't it turn you on? ♪
962
00:40:35,289 --> 00:40:38,742
♪ Can't you see
We're wastin' time, yeah? ♪
963
00:40:38,744 --> 00:40:40,247
♪ Do you wanna touch? ♪
964
00:40:40,249 --> 00:40:41,658
♪ Yeah!
Do you wanna touch? ♪
965
00:40:42,072 --> 00:40:45,849
♪ Yeah! Do you wanna
Touch me there, where ♪
966
00:40:46,104 --> 00:40:48,056
♪ Do you wanna touch?
Yeah! ♪
967
00:40:48,058 --> 00:40:51,318
BILLIE JOE: The way that Joan
and Kenny have done things,
968
00:40:51,320 --> 00:40:54,262
it inspired people
to make their own labels
969
00:40:54,264 --> 00:40:56,951
because people figured out
that they don't need
970
00:40:56,953 --> 00:40:59,063
a bunch of guys
in suits and cigars
971
00:40:59,065 --> 00:41:00,792
and cash to start a label.
972
00:41:00,794 --> 00:41:02,712
♪ No, no, no! ♪
973
00:41:02,714 --> 00:41:04,375
CROWD: ♪ Yeah ♪
974
00:41:04,377 --> 00:41:05,655
♪ Oh, yeah ♪
975
00:41:05,657 --> 00:41:07,672
♪ Oh, yeah ♪
976
00:41:07,674 --> 00:41:09,559
♪ Do ya, do ya? ♪
977
00:41:09,561 --> 00:41:13,176
MERYL: And I think it was
in a bar in upstate New York,
978
00:41:13,178 --> 00:41:15,194
and a big tour manager...
979
00:41:15,768 --> 00:41:17,624
I'll never forget him
saying this
980
00:41:17,626 --> 00:41:20,347
because at this club,
the line was around the block,
981
00:41:20,537 --> 00:41:22,902
and when we got in,
he said to me,
982
00:41:22,904 --> 00:41:24,633
"Remember these days.
983
00:41:24,825 --> 00:41:27,194
This is the best time
you're ever gonna have,
984
00:41:27,578 --> 00:41:30,170
and never take it for granted,"
and I never have.
985
00:41:30,616 --> 00:41:32,632
- ♪ Yeah ♪
- ♪ Fuck you ♪
986
00:41:32,634 --> 00:41:34,518
- ♪ Yeah ♪
- ♪ Fuck me ♪
987
00:41:34,520 --> 00:41:37,751
- ♪ Yeah ♪
- ♪ Fuck everybody ♪
988
00:41:37,753 --> 00:41:39,192
♪ Yeah ♪
989
00:41:39,194 --> 00:41:41,016
INTERVIEWER: Is that something
that gnaws at you,
990
00:41:41,018 --> 00:41:42,614
the fact that they'll take you
seriously fronting a male band,
991
00:41:42,616 --> 00:41:43,862
but they wouldn't
take you seriously
992
00:41:43,864 --> 00:41:45,495
being an all-girl band?
993
00:41:45,497 --> 00:41:48,662
JOAN: I think audiences
are forced to listen more,
994
00:41:48,664 --> 00:41:51,128
and they're more accepting
than maybe the business.
995
00:41:51,130 --> 00:41:52,631
Like, I think
the record companies
996
00:41:52,633 --> 00:41:54,390
haven't come far at all.
997
00:41:54,392 --> 00:41:56,983
Until women get into
the position of AandR men.
998
00:41:56,985 --> 00:41:59,351
MIKE NESS: Oh, I'm sure she
had to go through a lot of,
999
00:41:59,353 --> 00:42:02,262
you know,
"I can play guitars
1000
00:42:02,264 --> 00:42:04,730
just as good as you can,
motherfucker," you know?
1001
00:42:05,114 --> 00:42:07,511
"Just 'cause I'm a girl,
don't think I can't play."
1002
00:42:07,513 --> 00:42:10,071
THOM PANUNZIO: I know very
few men that can play like her.
1003
00:42:10,073 --> 00:42:12,918
You know, she's ferocious
when she plays that guitar.
1004
00:42:12,920 --> 00:42:15,639
Out of nowhere,
an old friend of mine,
1005
00:42:15,641 --> 00:42:19,386
the head of Buddha,
Neil Bogart, decided to help us.
1006
00:42:19,609 --> 00:42:22,106
JOAN: Neil ran
Casablanca Records,
1007
00:42:22,361 --> 00:42:23,990
which had KISS,
1008
00:42:23,992 --> 00:42:26,105
but they were a disco label,
basically.
1009
00:42:26,360 --> 00:42:29,879
♪ I love to love you,
Baby ♪
1010
00:42:29,881 --> 00:42:33,721
I mean, this guy knew senators
and presidents and made movies.
1011
00:42:33,944 --> 00:42:36,663
JOAN: He was really
into what we were doing,
1012
00:42:36,665 --> 00:42:38,230
and that was so different.
1013
00:42:38,232 --> 00:42:39,671
I liked it
'cause it felt like
1014
00:42:39,673 --> 00:42:42,105
he was shoving it up
people's ass.
1015
00:42:42,553 --> 00:42:45,014
KENNY: He helped me put out
the Joan Jett record,
1016
00:42:45,016 --> 00:42:47,926
which he renamed
Bad Reputation.
1017
00:42:47,928 --> 00:42:51,318
He never checked with us.
It completely pissed us off.
1018
00:42:51,320 --> 00:42:53,078
He said,
"You're a cult marketer.
1019
00:42:53,080 --> 00:42:56,953
I'm a mass marketer.
I have two Rolls-Royces.
1020
00:42:57,496 --> 00:42:59,926
That makes me a lot smarter
than you, Kenny."
1021
00:42:59,928 --> 00:43:02,390
We were selling so many
more records than we knew about
1022
00:43:02,392 --> 00:43:03,766
because the factory
was printing them up
1023
00:43:03,768 --> 00:43:05,366
and selling them
out the back door.
1024
00:43:05,368 --> 00:43:06,967
You gotta be very careful
how you handle it
1025
00:43:06,969 --> 00:43:08,857
because the guys
doing that are...
1026
00:43:10,584 --> 00:43:12,153
thugs. (CHUCKLES)
1027
00:43:12,377 --> 00:43:15,318
So you don't sue them.
Neil knew how to handle that.
1028
00:43:15,320 --> 00:43:16,855
We went, and we took
our own money,
1029
00:43:16,857 --> 00:43:18,647
and we made
"I Love Rock 'n' Roll."
1030
00:43:18,649 --> 00:43:22,266
And people just didn't do that.
Today, it's common.
1031
00:43:22,617 --> 00:43:24,919
I had seen this song
that was a B-side
1032
00:43:24,921 --> 00:43:27,127
of another song,
I saw it on TV.
1033
00:43:27,129 --> 00:43:28,470
It was called
"I Love Rock 'n' Roll."
1034
00:43:28,472 --> 00:43:30,009
I'm like, that's a hit.
1035
00:43:30,232 --> 00:43:31,671
The Runaways
didn't want to do it,
1036
00:43:31,673 --> 00:43:34,296
and so I did a version
with the Sex Pistols
1037
00:43:34,298 --> 00:43:35,993
and Steve Jones
and Paul Cook.
1038
00:43:36,793 --> 00:43:40,186
♪ ("I LOVE ROCK 'N' ROLL"
PLAYS) ♪
1039
00:43:41,145 --> 00:43:42,871
KENNY: I thought their version
1040
00:43:42,873 --> 00:43:45,910
was a little unsophisticated,
a little sophomoric.
1041
00:43:45,912 --> 00:43:47,513
I thought we could make
a better record.
1042
00:43:47,737 --> 00:43:50,263
JOAN: So once I was with Kenny
1043
00:43:50,265 --> 00:43:51,798
and we formed
The Blackhearts,
1044
00:43:51,800 --> 00:43:53,945
it was something
that I wanted to try,
1045
00:43:54,137 --> 00:43:56,505
and the rest is history.
1046
00:44:00,984 --> 00:44:04,153
("I LOVE ROCK 'N' ROLL" PLAYS)
1047
00:44:15,705 --> 00:44:19,194
♪ I saw him dancin' there
By the record machine ♪
1048
00:44:20,248 --> 00:44:23,833
♪♪ I knew he musta been
About 17 ♪♪
1049
00:44:25,272 --> 00:44:27,257
♪ The beat
Was goin' strong ♪
1050
00:44:27,672 --> 00:44:30,999
♪ Playin' my favorite song ♪
1051
00:44:31,001 --> 00:44:33,079
♪ An' I could tell
It wouldn't be long ♪
1052
00:44:33,081 --> 00:44:35,895
♪ Till he was with me,
Yeah, me ♪
1053
00:44:35,897 --> 00:44:37,879
♪ An' I could tell
It wouldn't be long ♪
1054
00:44:37,881 --> 00:44:40,758
♪ Till he was with me,
Yeah, me ♪
1055
00:44:40,760 --> 00:44:43,479
♪ Singin'
I love rock 'n' roll ♪
1056
00:44:43,481 --> 00:44:45,562
♪ So put another dime
In the jukebox, baby ♪
1057
00:44:45,945 --> 00:44:48,153
♪ I love rock 'n' roll ♪
1058
00:44:48,345 --> 00:44:51,994
♪ So come and take your time
And dance with me ♪
1059
00:44:52,185 --> 00:44:53,112
Ow!
1060
00:44:54,328 --> 00:44:57,465
GARY: MTV started around
the same time we were starting.
1061
00:44:57,785 --> 00:44:59,958
KENNY: I was brought up
to believe television
1062
00:44:59,960 --> 00:45:01,305
is the enemy of rock 'n' roll.
1063
00:45:01,720 --> 00:45:03,415
♪ It's all the same ♪
1064
00:45:03,417 --> 00:45:05,177
KENNY: Les Garland
started harassing me.
1065
00:45:05,561 --> 00:45:08,631
He was one of the heads of MTV,
and he just begged me,
1066
00:45:08,633 --> 00:45:10,422
and I said, "Okay,
but you're only allowed
1067
00:45:10,424 --> 00:45:12,153
to play it two times a day."
1068
00:45:12,344 --> 00:45:15,191
He was playing it 16 times
a day and freaking me out.
1069
00:45:15,193 --> 00:45:16,727
There was very little
I could do about it.
1070
00:45:16,729 --> 00:45:18,202
It was number one
for eight weeks.
1071
00:45:18,585 --> 00:45:20,918
♪ He was with me,
Yeah, me, singin'... ♪
1072
00:45:20,920 --> 00:45:23,257
KENNY: But I felt
that in retrospect,
1073
00:45:23,545 --> 00:45:26,842
the second four weeks
it was probably number one
1074
00:45:27,225 --> 00:45:29,945
because all of a sudden,
the image went on.
1075
00:45:30,264 --> 00:45:31,990
I mean, I love rock 'n' roll.
1076
00:45:31,992 --> 00:45:34,454
Fuck, of course I love
rock 'n'... I'm in.
1077
00:45:34,456 --> 00:45:38,262
I kind of wanted to be,
like, you know,
1078
00:45:38,264 --> 00:45:39,833
the guy version of that.
1079
00:45:40,088 --> 00:45:42,935
It was kind of, "Aha,
I told you so," in a way,
1080
00:45:42,937 --> 00:45:45,879
but, look, it's real.
1081
00:45:45,881 --> 00:45:48,023
We're good.
It wasn't, "I'm good."
1082
00:45:48,025 --> 00:45:50,391
It's, "We're good."
It's a team.
1083
00:45:50,393 --> 00:45:52,026
It's an effort,
a team effort,
1084
00:45:52,249 --> 00:45:54,105
and we were all out there
to make this music.
1085
00:45:54,296 --> 00:45:57,017
("VICTIM OF CIRCUMSTANCE" PLAYS,
CROWD CHEERS)
1086
00:45:57,304 --> 00:46:00,279
ELLIOT SALTZMAN: Things rapidly
changed immediately after that.
1087
00:46:00,281 --> 00:46:03,159
♪ The police were waiting
When the sun came up ♪
1088
00:46:03,161 --> 00:46:06,070
♪ Better move your ass
Or we'll really get rough ♪
1089
00:46:06,072 --> 00:46:10,039
Touring the United States,
Canada, Japan, and Australia...
1090
00:46:10,041 --> 00:46:12,822
- Joan Jett!
- Joan Jett and The Blackhearts.
1091
00:46:12,824 --> 00:46:14,774
ELLIOT: We just traveled
the world.
1092
00:46:14,776 --> 00:46:16,630
(MAN SPEAKS SPANISH)
1093
00:46:16,632 --> 00:46:18,486
KENNY: We went down to Panama.
1094
00:46:18,488 --> 00:46:20,246
It's like if there's trouble,
we go.
1095
00:46:20,248 --> 00:46:21,977
So we get there,
and we get a message.
1096
00:46:22,904 --> 00:46:25,175
Noriega wants Joan,
1097
00:46:25,177 --> 00:46:28,057
and he sends his plane
to pick up Joan.
1098
00:46:28,280 --> 00:46:29,654
You couldn't really
tell him no.
1099
00:46:29,656 --> 00:46:30,999
We tried to weasel out.
1100
00:46:31,001 --> 00:46:33,369
Luckily for us,
less lucky for him,
1101
00:46:33,593 --> 00:46:35,511
there was some bad incident
that happened
1102
00:46:35,513 --> 00:46:38,326
that saved our asses
because he was serious.
1103
00:46:38,328 --> 00:46:40,089
He wanted to meet Joan Jett.
1104
00:46:40,280 --> 00:46:42,550
♪ You know I never meant
To cause anybody harm, no ♪
1105
00:46:42,552 --> 00:46:44,502
♪ Just a victim
Of circumstance ♪
1106
00:46:44,504 --> 00:46:46,550
- ♪ Didn't you know? ♪
- ♪ Just a victim... ♪
1107
00:46:46,552 --> 00:46:48,343
KENNY: David Bowie
and Freddie Mercury
1108
00:46:48,345 --> 00:46:50,359
came up on stage
to watch Joan.
1109
00:46:50,361 --> 00:46:53,878
JOAN: We're talking like
80,000 seats or something
1110
00:46:53,880 --> 00:46:55,095
in Leeds, England.
1111
00:46:55,097 --> 00:46:56,854
A few years earlier,
1112
00:46:56,856 --> 00:46:58,839
I was listening to him
on the radio, you know,
1113
00:46:58,841 --> 00:47:00,759
and all of a sudden,
you're on stage with him.
1114
00:47:00,761 --> 00:47:03,799
(ROCK GUITAR SOLO PLAYS)
1115
00:47:03,801 --> 00:47:06,614
ELLIOT: The fame and everything
didn't affect her
1116
00:47:06,616 --> 00:47:08,343
like I thought it would.
1117
00:47:08,345 --> 00:47:09,974
She didn't care about
the press conferences
1118
00:47:09,976 --> 00:47:11,478
and the parties
and this and that.
1119
00:47:11,480 --> 00:47:14,329
To her, playing was what
it was all about.
1120
00:47:14,712 --> 00:47:16,920
♪ I've been shut out ♪
1121
00:47:18,105 --> 00:47:21,079
♪ Let there be no doubt ♪
1122
00:47:21,081 --> 00:47:24,311
♪ I've never been afraid
Of chances I been takin' ♪
1123
00:47:24,313 --> 00:47:26,679
JOAN: It was like you were
always one foot in the gutter
1124
00:47:26,681 --> 00:47:31,478
and one foot in...
possible stardom.
1125
00:47:31,480 --> 00:47:33,175
I can't even figure out
how to say it.
1126
00:47:33,177 --> 00:47:35,769
♪ I ain't that tough, no ♪
1127
00:47:36,121 --> 00:47:37,782
♪ Just a victim
Of circumstance ♪
1128
00:47:37,784 --> 00:47:39,127
♪ Didn't you know? ♪
1129
00:47:39,129 --> 00:47:40,790
♪ Just a victim
Of circumstance ♪
1130
00:47:40,792 --> 00:47:41,976
♪ Doesn't it show? ♪
1131
00:47:42,520 --> 00:47:43,830
♪ I'm just a victim
Of circumstance ♪
1132
00:47:43,832 --> 00:47:45,366
♪ Wherever I go ♪
1133
00:47:45,368 --> 00:47:47,350
♪ Just a victim
Of bad reputation
1134
00:47:47,352 --> 00:47:48,790
♪ I got no chance of shakin' ♪
1135
00:47:48,792 --> 00:47:51,705
JOAN: It was surreal,
so surreal.
1136
00:47:52,217 --> 00:47:54,550
It went so far beyond me,
it made me realize
1137
00:47:54,552 --> 00:47:58,806
what people can do...
in general
1138
00:47:58,808 --> 00:48:00,855
if the circumstances are right.
1139
00:48:00,857 --> 00:48:03,769
First time I heard Joan,
I was in the car with my dad,
1140
00:48:04,120 --> 00:48:08,985
and it came on the radio,
and it was "Crimson and Clover,"
1141
00:48:09,368 --> 00:48:11,832
and I heard that voice,
and I was just like...
1142
00:48:12,025 --> 00:48:13,178
♪ Ahh ♪
1143
00:48:13,913 --> 00:48:15,514
KATHLEEN: Who is this person?
1144
00:48:16,377 --> 00:48:19,511
♪ Now I don't hardly
know her ♪
1145
00:48:19,513 --> 00:48:22,041
KATHLEEN: And then when she
would get to the pronouns.
1146
00:48:22,361 --> 00:48:25,270
♪ But I think
I can love her ♪
1147
00:48:25,272 --> 00:48:29,174
And say "she,"
I got really interested.
1148
00:48:29,176 --> 00:48:32,053
♪ Crimson and clover ♪
1149
00:48:32,055 --> 00:48:33,751
You could sing a song
1150
00:48:33,753 --> 00:48:35,798
about really caring
about another girl?
1151
00:48:35,800 --> 00:48:38,870
- ♪ Yeah ♪
- ♪ Ba da da da da da ♪
1152
00:48:38,872 --> 00:48:40,790
KATHLEEN: 'Cause my friendships
were so important to me
1153
00:48:40,792 --> 00:48:44,441
at that age that I was like,
"Somebody gets me."
1154
00:48:45,176 --> 00:48:47,034
It's that sort of,
"Oh, my God,
1155
00:48:47,257 --> 00:48:49,333
she's gonna take me home
and fuck the shit outta me."
1156
00:48:49,335 --> 00:48:52,119
It's scary, and it's not
what people grew up with.
1157
00:48:52,121 --> 00:48:54,103
They're used to being
the dominant one.
1158
00:48:54,105 --> 00:48:57,654
They're not used to girls
using their sexuality
1159
00:48:57,656 --> 00:48:59,865
in a way
that they feel they own it.
1160
00:49:00,665 --> 00:49:03,863
♪ Ba da da da da da ♪
1161
00:49:03,865 --> 00:49:06,646
♪ Over and over ♪
1162
00:49:06,648 --> 00:49:08,182
MILEY CYRUS: You can say,
1163
00:49:08,184 --> 00:49:09,848
"Oh, people just want
to play music,
1164
00:49:10,040 --> 00:49:11,798
and they don't want it to
become about their sexuality,"
1165
00:49:11,800 --> 00:49:13,751
even if whatever they're wearing
or whatever they're doing.
1166
00:49:13,753 --> 00:49:15,735
But sometimes you do wanna
fucking be sexual,
1167
00:49:15,737 --> 00:49:17,750
and I think there's this thing
that women are supposed to act
1168
00:49:17,752 --> 00:49:18,998
like we don't wanna fuck,
too,
1169
00:49:19,000 --> 00:49:20,727
and that we don't
like sex, too,
1170
00:49:20,729 --> 00:49:23,030
that only guys like to fuck,
that we don't like to have sex.
1171
00:49:23,032 --> 00:49:24,854
CHRIS: The music scene
was a total boys club.
1172
00:49:24,856 --> 00:49:27,702
The analogy I always made
was Mick Jagger came out
1173
00:49:27,704 --> 00:49:31,033
in Madison Square Garden
riding a giant inflated cock.
1174
00:49:31,257 --> 00:49:33,623
And if Debbie or Joan
had come out
1175
00:49:33,625 --> 00:49:35,769
riding a giant inflated pussy,
1176
00:49:35,993 --> 00:49:38,326
all the fucking male critics
1177
00:49:38,328 --> 00:49:40,505
would've been running,
screaming for the exits.
1178
00:49:40,696 --> 00:49:44,470
BILLIE JOE: If Mick Jagger
can transcend his sexuality,
1179
00:49:44,472 --> 00:49:46,711
so does Joan Jett,
you know what I mean?
1180
00:49:46,713 --> 00:49:48,631
ALISON MOSSHART: It gives you
power to prove everyone wrong.
1181
00:49:48,633 --> 00:49:50,391
There's a huge energy in that.
1182
00:49:50,393 --> 00:49:53,114
It's so valuable to have
something to fight against.
1183
00:49:53,304 --> 00:49:56,181
♪ Over and over ♪
1184
00:49:56,183 --> 00:49:58,263
♪ Crimson and clover ♪
1185
00:49:58,265 --> 00:50:00,215
ALISON: I think the attitude
is a really big one.
1186
00:50:00,217 --> 00:50:02,775
I think that's impossible
to miss, you know?
1187
00:50:02,777 --> 00:50:04,794
I wouldn't know
how to get Joan's sound
1188
00:50:04,985 --> 00:50:06,741
because I'm not technical
in that way,
1189
00:50:06,743 --> 00:50:08,760
but the attitude I picked up on
right away.
1190
00:50:09,080 --> 00:50:10,871
And that's something
that I want in my head
1191
00:50:10,873 --> 00:50:13,558
and my heart when I'm going
out there to do that thing
1192
00:50:13,560 --> 00:50:15,478
that's so scary
in front of all those people.
1193
00:50:15,480 --> 00:50:18,616
♪ ("CRIMSON AND CLOVER"
CONTINUES) ♪
1194
00:50:24,441 --> 00:50:27,190
Well, because rock 'n' roll
is from the waist down
1195
00:50:27,192 --> 00:50:31,030
if you're doing it right.
(LAUGHS)
1196
00:50:31,032 --> 00:50:36,217
(SONG CONTINUES)
1197
00:50:36,920 --> 00:50:39,285
KENNY: Neil died
unfortunately of cancer
1198
00:50:39,287 --> 00:50:42,613
at 39 years old in 1982,
and at his funeral,
1199
00:50:42,615 --> 00:50:44,342
his mother grabbed Joan
and said
1200
00:50:44,344 --> 00:50:46,230
that record
meant more to Neil
1201
00:50:46,232 --> 00:50:48,471
than all the other hundreds
of hits he had had.
1202
00:50:48,473 --> 00:50:52,118
He said, "See?
I can do rock 'n' roll."
1203
00:50:52,120 --> 00:50:55,704
Boardwalk went out of business,
and we moved to MCA Records.
1204
00:50:55,993 --> 00:50:58,903
It was beginning
of Irving Azoff's tenure there.
1205
00:50:58,905 --> 00:51:01,434
MCA gave us
a multimillion-dollar deal,
1206
00:51:01,657 --> 00:51:04,310
and while Irving
was brilliant,
1207
00:51:04,312 --> 00:51:06,613
they weren't really ready
for a rock-'n'-roll band.
1208
00:51:06,615 --> 00:51:08,058
The album known as "Album"
1209
00:51:08,439 --> 00:51:10,453
didn't do as well
as I Love Rock 'n' Roll,
1210
00:51:10,455 --> 00:51:13,911
and the label kind of started
kicking the shit out of us,
1211
00:51:13,913 --> 00:51:15,990
and then we had
an urban-contemporary
1212
00:51:15,992 --> 00:51:18,488
pretty big hit
with everyday people.
1213
00:51:18,713 --> 00:51:20,759
Joan ran around
with The Commodores
1214
00:51:20,761 --> 00:51:22,902
and The Temptations
and Frankie Crocker.
1215
00:51:22,904 --> 00:51:25,270
♪ There is a yellow one that
Won't accept the black one ♪
1216
00:51:25,272 --> 00:51:26,774
♪ That won't accept
The red one ♪
1217
00:51:26,776 --> 00:51:28,694
♪ That won't accept
The white one ♪
1218
00:51:28,696 --> 00:51:30,613
It's yellow, black,
red, white.
1219
00:51:30,615 --> 00:51:33,113
KENNY: And then
Glorious Results came out
1220
00:51:33,303 --> 00:51:36,119
and by then,
we were fighting with MCA,
1221
00:51:36,121 --> 00:51:38,262
and they kind of buried
that record.
1222
00:51:38,264 --> 00:51:40,854
Rock is a business for people
who can't do anything properly.
1223
00:51:40,856 --> 00:51:42,582
It's what only a shark
would be.
1224
00:51:42,584 --> 00:51:46,266
KENNY: The situation at MCA
became so acrimonious
1225
00:51:46,456 --> 00:51:48,757
that they actually
did something unthinkable.
1226
00:51:48,759 --> 00:51:50,584
They actually went out
in the street
1227
00:51:50,776 --> 00:51:53,335
to try to stop people
from playing our records
1228
00:51:53,337 --> 00:51:57,466
to teach us a lesson,
and that was unconscionable.
1229
00:51:58,072 --> 00:52:00,278
It's one thing when they're
not helping you at all.
1230
00:52:00,280 --> 00:52:03,061
It's another thing
when they're coming after you
1231
00:52:03,063 --> 00:52:04,249
and trying to hurt you.
1232
00:52:04,761 --> 00:52:07,671
That's hard to overcome.
So what happened?
1233
00:52:07,673 --> 00:52:11,030
We were hot, hot, hot, hot,
and now we're cold, cold, cold.
1234
00:52:11,032 --> 00:52:15,225
We felt like...
we're back to square one.
1235
00:52:15,480 --> 00:52:18,582
Now, we could still sell out
almost any club in America,
1236
00:52:18,584 --> 00:52:21,046
but a lot of people
who left us for dead.
1237
00:52:21,048 --> 00:52:23,925
(PLAYING NOTES)
1238
00:52:23,927 --> 00:52:26,293
JEANETTE RASNIK: It's not gonna
be so easy this time, Patti.
1239
00:52:26,295 --> 00:52:27,864
You're gonna
have to prove yourself.
1240
00:52:30,104 --> 00:52:32,408
From what I can see,
you're not a fit mother.
1241
00:52:32,696 --> 00:52:34,933
JOAN: I'd always wanted
to act since I was a kid,
1242
00:52:34,935 --> 00:52:38,298
and then out of left field,
I got an offer to do a movie.
1243
00:52:38,520 --> 00:52:40,214
It was called Light of Day.
1244
00:52:40,216 --> 00:52:42,198
There's a young woman
in rock 'n' roll today
1245
00:52:42,200 --> 00:52:44,502
who has long had the respect
of her peers,
1246
00:52:44,504 --> 00:52:46,583
and now she's breaking out
into the mainstream.
1247
00:52:46,585 --> 00:52:48,824
And since when are you
an authority on fit mothers?
1248
00:52:49,081 --> 00:52:50,742
Since when are you
an authority on anything?
1249
00:52:50,744 --> 00:52:53,625
- This can wait, right?
- I ain't staying in this house.
1250
00:52:53,816 --> 00:52:56,631
How did Kenny put it?
Rock 'n' roll cancer movie.
1251
00:52:56,633 --> 00:52:59,511
Paul Schrader
of the movie Taxi Driver
1252
00:52:59,513 --> 00:53:02,614
and movies like that
wrote this movie
1253
00:53:02,616 --> 00:53:04,535
and was also directing it.
1254
00:53:04,537 --> 00:53:06,038
MICHAEL J. FOX: People who
haven't done a lot of acting,
1255
00:53:06,040 --> 00:53:08,151
but they're natural performers
1256
00:53:08,153 --> 00:53:09,558
it's because they're able
to access stuff.
1257
00:53:09,560 --> 00:53:11,351
They're able to go to places,
look at things
1258
00:53:11,353 --> 00:53:13,462
from a different angle,
and as kind of rock-hard
1259
00:53:13,464 --> 00:53:17,173
and stoic as Joan may seem,
she's a very curious person,
1260
00:53:17,175 --> 00:53:18,997
and she would test the limits
1261
00:53:18,999 --> 00:53:20,502
of where she thought
she could go
1262
00:53:20,504 --> 00:53:22,392
and bring in new things
and new emotions.
1263
00:53:22,617 --> 00:53:24,854
I've seen other actors
manufacture
1264
00:53:24,856 --> 00:53:26,584
and summon up for roles,
1265
00:53:26,840 --> 00:53:28,631
but you always see
the work behind it,
1266
00:53:28,633 --> 00:53:31,095
whereas with Joan,
she just had that.
1267
00:53:31,097 --> 00:53:33,301
I told her. I warned her.
I was real clear.
1268
00:53:33,303 --> 00:53:35,862
I told her if she mentioned
church or rock 'n' roll
1269
00:53:35,864 --> 00:53:38,166
or marriage, I'd walk out
of the room if I was in it,
1270
00:53:38,168 --> 00:53:39,702
hang up the phone
if I was on it.
1271
00:53:39,704 --> 00:53:41,271
She can't bring up those
subjects no more.
1272
00:53:41,273 --> 00:53:44,118
- It was just prayer.
- Yeah, that's her trick.
1273
00:53:44,120 --> 00:53:45,942
Thought she could get away
with it. No way, man.
1274
00:53:45,944 --> 00:53:47,734
There's no middle ground.
It's her or me.
1275
00:53:47,736 --> 00:53:49,303
When she'd get there,
it'd be scary.
1276
00:53:49,305 --> 00:53:51,127
Whether she was acting
or she was playing,
1277
00:53:51,129 --> 00:53:52,505
she would get to a place where
you just don't fuck around.
1278
00:53:52,696 --> 00:53:54,230
Just let her do
what she's doing
1279
00:53:54,232 --> 00:53:56,025
and hope you don't get hurt.
1280
00:53:56,216 --> 00:53:58,902
♪ Just around the corner
Till the light of day, yeah ♪
1281
00:53:58,904 --> 00:54:01,974
MICHAEL: Bruce Springsteen wrote
the title song for the movie.
1282
00:54:01,976 --> 00:54:04,216
Initially, Bruce
was supposed to play my role.
1283
00:54:06,199 --> 00:54:10,488
♪ Driving 500 miles,
Got 500 to go, yeah ♪
1284
00:54:11,929 --> 00:54:16,474
♪ I've got rock 'n' roll
Music on my radio ♪
1285
00:54:16,696 --> 00:54:18,646
MICHAEL: She's sensitive
and emotional,
1286
00:54:18,648 --> 00:54:22,422
and things like loyalty and
friendship mean a lot to her
1287
00:54:22,424 --> 00:54:25,301
and empathy, and those are all
great qualities in an actor.
1288
00:54:25,303 --> 00:54:27,734
REPORTER: He said that you were
very patient with him.
1289
00:54:27,736 --> 00:54:29,846
He got the sense that as long
as he took what he was doing
1290
00:54:29,848 --> 00:54:31,574
seriously then you wouldn't
have a problem with him.
1291
00:54:31,576 --> 00:54:34,454
We treated each other
as peers in each other's worlds,
1292
00:54:34,456 --> 00:54:36,600
which was...
I thought was very helpful.
1293
00:54:36,793 --> 00:54:40,665
(CROWD CHEERING)
1294
00:54:41,720 --> 00:54:44,281
♪ (PLAYING "I HATE MYSELF
FOR LOVING YOU") ♪
1295
00:54:50,200 --> 00:54:54,649
KENNY: The relationship between
your label and yourselves
1296
00:54:54,872 --> 00:54:57,398
I think was capsulated
by Neil Bogart who said to me,
1297
00:54:57,400 --> 00:54:58,840
"Think of me as your surgeon.
1298
00:55:00,312 --> 00:55:02,678
And if you piss me off,
you're gonna die."
1299
00:55:02,680 --> 00:55:05,434
We were a really small
boutique label.
1300
00:55:05,624 --> 00:55:08,279
♪ Midnight, gettin' uptight,
Where are you? ♪
1301
00:55:08,281 --> 00:55:11,222
KENNY: A big star machine
is available to you
1302
00:55:11,224 --> 00:55:13,305
if you're on Warner Brothers
or Columbia,
1303
00:55:13,784 --> 00:55:17,880
and that was what Joan missed
for most of her career
1304
00:55:18,104 --> 00:55:20,505
because that star machine
makes the difference.
1305
00:55:21,369 --> 00:55:24,345
♪ I turn my back,
And you're messin' around ♪
1306
00:55:24,537 --> 00:55:26,425
♪ I'm not really jealous... ♪
1307
00:55:26,776 --> 00:55:29,557
KENNY: So there was a part of me
that always wanted the major.
1308
00:55:29,559 --> 00:55:32,504
So when we went to Epic,
we had our little honeymoon,
1309
00:55:33,048 --> 00:55:34,517
and then once again,
1310
00:55:34,519 --> 00:55:37,271
we had this monster
kind of holding us back.
1311
00:55:37,273 --> 00:55:40,121
♪ Away ♪
1312
00:55:40,345 --> 00:55:43,834
♪ I hate myself
For loving you ♪
1313
00:55:44,471 --> 00:55:47,832
♪ Can't break free from
The things that you do ♪
1314
00:55:48,633 --> 00:55:51,797
♪ I want to walk,
But I run back to you ♪
1315
00:55:51,799 --> 00:55:55,513
♪ That's why I hate myself
For loving you ♪
1316
00:55:56,440 --> 00:56:00,278
KENNY: We fought like mad dogs.
Joan toured herself to death.
1317
00:56:00,280 --> 00:56:03,158
I was working day and night
going to radio stations
1318
00:56:03,160 --> 00:56:04,950
taking everybody out,
1319
00:56:04,952 --> 00:56:07,574
buying televisions
for their kids in their dorms,
1320
00:56:07,576 --> 00:56:10,102
you know, whatever I could
think of to get an edge,
1321
00:56:10,104 --> 00:56:13,177
and somehow we kept that record
alive for 17 weeks,
1322
00:56:13,592 --> 00:56:15,513
and then we were back,
and we had friends again.
1323
00:56:15,735 --> 00:56:17,238
(SIREN WAILS)
1324
00:56:17,240 --> 00:56:18,646
REPORTER: Washington, D.C.
1325
00:56:18,648 --> 00:56:21,046
Only two miles
from the White House,
1326
00:56:21,048 --> 00:56:24,374
storeowners prepare for
another night of civil unrest.
1327
00:56:24,376 --> 00:56:28,022
The summer of '92,
there was a riot
1328
00:56:28,024 --> 00:56:30,645
in the Mt. Pleasant neighborhood
of Washington, D.C.,
1329
00:56:30,647 --> 00:56:33,526
and that neighborhood was
filled with punk group houses.
1330
00:56:33,528 --> 00:56:35,832
There was a lot of women
who were very political.
1331
00:56:36,024 --> 00:56:39,798
This woman Jen Thomas said,
"We should have a girl riot."
1332
00:56:39,800 --> 00:56:41,622
So she said, "We should
be riot girls."
1333
00:56:41,624 --> 00:56:45,557
That was the beginning
of the Riot Grrrl movement
1334
00:56:45,559 --> 00:56:46,550
or whatever
you want to call it.
1335
00:56:46,552 --> 00:56:49,237
♪ Rebel girl ♪
1336
00:56:49,239 --> 00:56:51,190
♪ Rebel girl ♪
1337
00:56:51,192 --> 00:56:54,073
♪ Rebel girl,
You are the queen of my world ♪
1338
00:56:54,263 --> 00:56:56,885
♪ Rebel girl,
Rebel girl ♪
1339
00:56:56,887 --> 00:56:59,797
Two girls, Tobi and Kathi
from my band, Bikini Kill,
1340
00:56:59,799 --> 00:57:01,624
went to see
a Fugazi show.
1341
00:57:01,816 --> 00:57:03,637
IAN: And Joan and Kenny
came down for the gig,
1342
00:57:03,639 --> 00:57:05,622
and you can see her
in the back of this...
1343
00:57:05,624 --> 00:57:07,510
you know, on the side
of the stage just going off.
1344
00:57:07,512 --> 00:57:09,431
KATHLEEN HANNA: So they got
one of our demo tapes.
1345
00:57:09,433 --> 00:57:11,481
They must've had one
in their bag or something,
1346
00:57:11,896 --> 00:57:14,261
and then they wrote
"For a good time call,"
1347
00:57:14,263 --> 00:57:16,150
and they wrote
my phone number.
1348
00:57:16,152 --> 00:57:18,552
Phone rings, and I pick it up,
and it's like,
1349
00:57:19,063 --> 00:57:20,981
"Hey, Kathleen,
it's Joan Jett."
1350
00:57:20,983 --> 00:57:24,186
And I was just like, "Yeah,
whatever, who the fuck is this?"
1351
00:57:24,376 --> 00:57:25,846
"No, I was at the Fugazi show
last night."
1352
00:57:25,848 --> 00:57:27,701
She's like, "I heard
a demo of your band.
1353
00:57:27,703 --> 00:57:29,495
I think it's really great,
maybe we could work together."
1354
00:57:29,497 --> 00:57:31,638
I was just like,
"This really is not funny."
1355
00:57:31,640 --> 00:57:33,558
So I walk into
the living room.
1356
00:57:33,560 --> 00:57:35,382
We have this
Glorious Misspent Youth poster.
1357
00:57:35,384 --> 00:57:37,302
I said, "Okay, if you're
really Joan Jett,
1358
00:57:37,304 --> 00:57:39,191
tell me
what your hair looks like."
1359
00:57:39,193 --> 00:57:43,669
And she goes, "It's like
a bastardized, disheveled bob."
1360
00:57:43,671 --> 00:57:46,550
And I was like, "Oh, shit,
you are Joan Jett!"
1361
00:57:46,552 --> 00:57:47,833
(LAUGHS)
1362
00:57:48,376 --> 00:57:50,774
JOAN: I got such a kick
out of watching them
1363
00:57:50,776 --> 00:57:53,653
fight their fight because
their fight was my fight.
1364
00:57:53,655 --> 00:57:55,573
I'm not willing to deal
with the mainstream anymore
1365
00:57:55,575 --> 00:57:58,422
when they're constantly asking
me questions about sexual abuse,
1366
00:57:58,424 --> 00:58:00,854
about if I've been a stripper,
if I haven't been a stripper,
1367
00:58:00,856 --> 00:58:03,673
constantly just completely
sexist shit.
1368
00:58:03,864 --> 00:58:06,134
And probably on another level,
she related to it
1369
00:58:06,136 --> 00:58:07,577
because she's a woman,
you know?
1370
00:58:07,801 --> 00:58:10,742
And she had been,
of all people, in the trenches
1371
00:58:10,744 --> 00:58:13,784
in an era where women were,
you know, so marginalized.
1372
00:58:14,424 --> 00:58:17,173
KATHLEEN: I wanted to use music
to spread feminism,
1373
00:58:17,175 --> 00:58:19,480
and I thought punk
was a great vehicle.
1374
00:58:19,703 --> 00:58:22,390
I equated being on a major label
with, like,
1375
00:58:22,392 --> 00:58:24,440
"Oh, I'm gonna
start using drugs and die."
1376
00:58:24,856 --> 00:58:26,421
Kim and Thurston
from Sonic Youth
1377
00:58:26,423 --> 00:58:28,821
were really nice to us and would
let us crash on the floor,
1378
00:58:28,823 --> 00:58:30,901
but Joan was the person
who stepped forward
1379
00:58:30,903 --> 00:58:32,661
and said,
"I want to be involved."
1380
00:58:32,663 --> 00:58:34,392
She really understood
where we were coming from.
1381
00:58:34,616 --> 00:58:37,461
JOAN: For lack of a better term,
you know, an updated version
1382
00:58:37,463 --> 00:58:39,288
of what The Runaways
were trying to achieve,
1383
00:58:39,481 --> 00:58:41,654
some kind of legitimacy.
1384
00:58:41,656 --> 00:58:43,414
KATHLEEN: She kind of
was the cement
1385
00:58:43,416 --> 00:58:45,238
that kept
a lot of things going
1386
00:58:45,240 --> 00:58:48,278
for some of the feminist bands
in the '90s, definitely for me.
1387
00:58:48,280 --> 00:58:51,221
I mean, she changed
my whole career path
1388
00:58:51,223 --> 00:58:53,689
and taught me
how to record a record.
1389
00:58:53,911 --> 00:58:55,895
IAN: When they did
that Bikini Kill record,
1390
00:58:55,897 --> 00:58:57,622
they produced a record,
1391
00:58:57,624 --> 00:58:59,735
which was I think
the best Bikini Kill record.
1392
00:58:59,737 --> 00:59:01,781
Joan's name is on there,
but Kenny's really...
1393
00:59:01,783 --> 00:59:03,319
he's involved.
1394
00:59:03,321 --> 00:59:05,622
He's working.
He's always in the studio.
1395
00:59:05,624 --> 00:59:07,574
I have to say, this kind of
ties in Joan pretty intensely.
1396
00:59:07,576 --> 00:59:09,494
I hadn't heard
of The Runaways.
1397
00:59:09,496 --> 00:59:12,181
One of the earliest scenes that
we were really interested in
1398
00:59:12,183 --> 00:59:13,782
was the LA punk scene,
1399
00:59:13,784 --> 00:59:15,096
and then The Germs' album
came out,
1400
00:59:15,353 --> 00:59:17,464
and that record was hugely
significant for us,
1401
00:59:17,687 --> 00:59:19,478
and Joan had produced it.
1402
00:59:19,480 --> 00:59:22,101
Wait a minute, that's the
"I Love Rock 'n' Roll" person.
1403
00:59:22,103 --> 00:59:25,144
Like, that's crazy
that she produced this record.
1404
00:59:25,496 --> 00:59:29,270
She has been a part
of not only her own music
1405
00:59:29,272 --> 00:59:31,541
that she's produced
but also some of the greatest
1406
00:59:31,543 --> 00:59:34,006
punk music
that's ever been put out.
1407
00:59:34,008 --> 00:59:35,865
TV HOST: We have a few friends
for you to meet,
1408
00:59:36,121 --> 00:59:38,296
Mercury recording artist
Joan Jett of The Runaways,
1409
00:59:38,680 --> 00:59:40,629
and we have with us tonight
The Germs
1410
00:59:40,631 --> 00:59:42,165
performing at the Whisky.
1411
00:59:42,167 --> 00:59:44,022
What are you guys
gonna do tonight?
1412
00:59:44,024 --> 00:59:45,529
Same stuff we always do.
1413
00:59:46,040 --> 00:59:49,817
♪ ("SHUT DOWN"
BY THE GERMS PLAYS) ♪
1414
00:59:52,376 --> 00:59:54,905
JOAN: The Germs,
they were a pretty...
1415
00:59:56,183 --> 00:59:58,424
infamous LA punk band.
1416
00:59:58,968 --> 01:00:01,909
The lead singer, Darby Crash,
and the guitar player,
1417
01:00:01,911 --> 01:00:03,766
Pat Smear,
were huge Runaways fans.
1418
01:00:03,768 --> 01:00:06,069
Eventually, they started
this band called The Germs,
1419
01:00:06,071 --> 01:00:07,991
and they were hard-core punk.
1420
01:00:08,920 --> 01:00:10,870
(SONG CONTINUES)
1421
01:00:10,872 --> 01:00:14,581
Darby is some kind
of crazed Colonel Kurtz-like
1422
01:00:14,583 --> 01:00:17,078
shaman of teenage people.
1423
01:00:17,080 --> 01:00:21,080
(SONG CONTINUES)
1424
01:00:21,495 --> 01:00:24,856
JOAN: Must have been '79
at some point before I moved,
1425
01:00:25,081 --> 01:00:27,609
they asked if, you know,
I would produce an album,
1426
01:00:27,895 --> 01:00:30,230
and I'm figuring you know,
they think I know what I'm doing
1427
01:00:30,232 --> 01:00:32,470
because I've made a couple
albums with The Runaways.
1428
01:00:32,472 --> 01:00:34,389
DON: She didn't engineer.
That wasn't her thing.
1429
01:00:34,391 --> 01:00:35,925
Had a great sensibility.
1430
01:00:35,927 --> 01:00:38,328
She's like, "I think you gotta
tune the guitar, Pat."
1431
01:00:38,520 --> 01:00:42,613
It was a no-frills album
but just straight-up punk rock.
1432
01:00:42,615 --> 01:00:44,341
I was very proud of the record.
1433
01:00:44,343 --> 01:00:45,942
We needed
someone with ears
1434
01:00:45,944 --> 01:00:48,119
and someone with
a rock 'n' roll heart
1435
01:00:48,121 --> 01:00:50,040
and they're helping us
make a good record,
1436
01:00:50,231 --> 01:00:52,056
and she did that, by gosh.
1437
01:00:52,280 --> 01:00:54,102
She knew how to get us
to do the things.
1438
01:00:54,104 --> 01:00:57,750
And then the last day,
I partied too much
1439
01:00:57,752 --> 01:00:59,001
and passed out on the couch,
1440
01:00:59,512 --> 01:01:01,941
which Darby documents
in one of the songs.
1441
01:01:01,943 --> 01:01:03,637
(SINGING "SHUT DOWN")
1442
01:01:03,639 --> 01:01:05,301
♪ Joan Jett ♪
1443
01:01:05,303 --> 01:01:08,630
♪ Passed out
On the fucking set ♪
1444
01:01:08,632 --> 01:01:13,625
(CONTINUES SINGING)
1445
01:01:14,392 --> 01:01:17,173
TV NARRATOR:
Since 1991, the hottest spot
1446
01:01:17,175 --> 01:01:19,416
in rock 'n' roll has been
Seattle, Washington.
1447
01:01:19,992 --> 01:01:22,998
Nirvana, Pearl Jam,
and Alice in Chains
1448
01:01:23,000 --> 01:01:25,337
all came out
of the local music scene.
1449
01:01:25,719 --> 01:01:27,637
Many people thought
the next breakthrough band
1450
01:01:27,639 --> 01:01:29,654
would be The Gits,
a punk-rock group
1451
01:01:29,656 --> 01:01:33,177
fronted by Mia Zapata,
a charismatic 27-year-old
1452
01:01:33,464 --> 01:01:34,937
with a tragic destiny.
1453
01:01:37,464 --> 01:01:39,062
MAN: (ON RECORDING)
Two of her roommates
1454
01:01:39,064 --> 01:01:40,569
finally broke down
1455
01:01:40,791 --> 01:01:44,760
and called the morgue,
where she... where she was,
1456
01:01:45,079 --> 01:01:46,901
and she was
an unidentified victim
1457
01:01:46,903 --> 01:01:48,248
at the morgue at that time.
1458
01:01:49,367 --> 01:01:51,448
JOAN: She was found strangled
to death by her...
1459
01:01:52,535 --> 01:01:56,888
her hoodie tie,
raped, and left in an alley.
1460
01:01:57,144 --> 01:01:59,925
Somehow came up in the studio
with Joan, and she's just like,
1461
01:01:59,927 --> 01:02:02,293
"We gotta do something.
We gotta be involved."
1462
01:02:02,295 --> 01:02:04,213
Next thing you know,
she's, like,
1463
01:02:04,215 --> 01:02:06,968
singing The Gits songs
1464
01:02:07,159 --> 01:02:09,526
with the surviving members
of The Gits.
1465
01:02:09,528 --> 01:02:11,318
JOAN: The thing
that really struck me
1466
01:02:11,320 --> 01:02:16,470
really hard at the time
was how it could've been
1467
01:02:16,472 --> 01:02:19,253
any one of us
and how many times, you know,
1468
01:02:19,255 --> 01:02:22,454
I've come home late at night
in that exact same situation.
1469
01:02:22,456 --> 01:02:24,342
She could've been me,
and I could've been her.
1470
01:02:24,344 --> 01:02:26,357
Then he slapped you
right across the face.
1471
01:02:26,359 --> 01:02:28,022
(IMITATES GUITAR STRUMMING)
1472
01:02:28,024 --> 01:02:31,736
And there's no singing.
So it emphasizes that.
1473
01:02:32,055 --> 01:02:34,870
It was a very strange thing
because it was...
1474
01:02:34,872 --> 01:02:36,662
you're celebrating the music,
1475
01:02:36,664 --> 01:02:38,677
but it was about
such a horrible thing.
1476
01:02:38,679 --> 01:02:40,534
It's gonna blow their minds.
It's unbelievable.
1477
01:02:40,536 --> 01:02:42,072
JOAN: It's like, really good.
1478
01:02:43,320 --> 01:02:44,949
INTERVIEWER: How did you guys
make that very painful decision
1479
01:02:44,951 --> 01:02:46,389
to keep on playing?
1480
01:02:46,391 --> 01:02:49,333
Because Mia would be
really upset if we didn't.
1481
01:02:49,335 --> 01:02:52,920
JOAN: When you see the footage
and you see how close they were
1482
01:02:53,143 --> 01:02:55,862
and you see Andy and Mia
joking onstage
1483
01:02:55,864 --> 01:02:58,902
and you see this rapport
and how close they were,
1484
01:02:58,904 --> 01:02:59,801
I mean...
1485
01:03:02,744 --> 01:03:07,480
(VOICE BREAKS) It really had
to be devastating, you know?
1486
01:03:08,535 --> 01:03:11,416
Hey, we'd like to thank you
all right here real quick
1487
01:03:11,832 --> 01:03:16,021
for coming out to Viva Zapata.
1488
01:03:16,023 --> 01:03:17,205
Thank you for supporting.
1489
01:03:17,207 --> 01:03:18,904
All the money went
to charity.
1490
01:03:19,159 --> 01:03:21,142
To help protect women
walking home,
1491
01:03:21,144 --> 01:03:23,797
self-defense classes,
all kinds of stuff.
1492
01:03:23,799 --> 01:03:25,590
It was a big deal at the time
1493
01:03:25,592 --> 01:03:28,437
because women were getting
raped, murdered.
1494
01:03:28,439 --> 01:03:31,032
KENNY: It was also to contribute
money for the private eye...
1495
01:03:31,320 --> 01:03:33,881
JOAN: To find the guy
that killed Mia.
1496
01:03:35,416 --> 01:03:38,165
♪ But I think I know
It hurts me to be angry ♪
1497
01:03:38,167 --> 01:03:39,830
♪ Kills me to be kind ♪
1498
01:03:39,832 --> 01:03:41,176
JOAN: I'll still
never forget the day
1499
01:03:41,688 --> 01:03:44,664
I got a phone call
from Steve Moriarty.
1500
01:03:46,104 --> 01:03:49,144
No hello, no nothing.
"We got him."
1501
01:03:52,824 --> 01:03:57,240
♪ So messed up
I want you here ♪
1502
01:04:00,344 --> 01:04:02,293
THOMMY PRICE:
The mid-'90s, you know,
1503
01:04:02,295 --> 01:04:05,238
we were doing all
of these one-off shows.
1504
01:04:05,240 --> 01:04:07,957
You'd be going to
a crappy little town
1505
01:04:07,959 --> 01:04:13,207
doing a state fair not really LA
but three hours outside of LA.
1506
01:04:13,495 --> 01:04:17,144
I went through a phase where
I didn't really give a crap.
1507
01:04:18,744 --> 01:04:20,601
Because they were,
you know,
1508
01:04:20,983 --> 01:04:24,021
gigs that I felt we shouldn't
have been doing or whatever.
1509
01:04:24,023 --> 01:04:27,576
♪ Now I wanna
Be your dog ♪
1510
01:04:27,831 --> 01:04:31,509
♪ Now I wanna
Be your dog ♪
1511
01:04:31,511 --> 01:04:33,013
KENNY: Our business is funny.
1512
01:04:33,015 --> 01:04:35,285
You're hot and important,
then you're not.
1513
01:04:35,287 --> 01:04:36,853
JOAN: It was a bad feeling,
but I always felt
1514
01:04:36,855 --> 01:04:39,127
like we had to fight on.
1515
01:04:39,415 --> 01:04:43,413
We knew we had what it took.
We didn't stop working.
1516
01:04:43,415 --> 01:04:45,847
- And so...
- KENNY: It was not fun.
1517
01:04:47,415 --> 01:04:51,317
Unless you've been gifted
in your 20s
1518
01:04:51,319 --> 01:04:54,614
with incredible piles of money
1519
01:04:54,616 --> 01:04:56,758
being thrown at you
by the system,
1520
01:04:56,760 --> 01:04:59,801
which almost all really,
really good musicians are not...
1521
01:05:01,751 --> 01:05:08,057
♪ Yes, and now I'm ready
To close my eyes ♪
1522
01:05:09,335 --> 01:05:11,061
♪ Yes, and now... ♪
1523
01:05:11,063 --> 01:05:13,783
IGGY POP: You need
to exert incredible focus
1524
01:05:13,976 --> 01:05:16,184
on maintaining
your own identity
1525
01:05:16,728 --> 01:05:20,150
while still using a skill
to enter the system
1526
01:05:20,152 --> 01:05:24,248
without destroying yourself
as a force.
1527
01:05:24,824 --> 01:05:29,653
♪ Yes, and lose my heart
On burning sand ♪
1528
01:05:29,655 --> 01:05:32,601
Come on, Charleston,
I wanna hear you now!
1529
01:05:33,015 --> 01:05:37,430
DEBBIE: You have to be really
willing to go anywhere with it,
1530
01:05:37,432 --> 01:05:40,853
up or down,
you know, sideways, whatever.
1531
01:05:40,855 --> 01:05:44,377
THOMMY: Joan, she gives it
100 percent
1532
01:05:44,567 --> 01:05:48,536
whether it's a state fair,
a sweet 16 birthday party,
1533
01:05:48,759 --> 01:05:50,678
or 10,000 people.
1534
01:05:50,680 --> 01:05:54,488
She still gives it her all.
No matter what.
1535
01:05:54,743 --> 01:05:58,902
(SHOUTS INDISTINCTLY,
PLAYS SOLO)
1536
01:05:58,904 --> 01:06:01,301
DANA WHITE: I saw her live at
a summer music festival
1537
01:06:01,303 --> 01:06:04,953
here in Las Vegas,
110 degrees out, full leather,
1538
01:06:05,143 --> 01:06:07,832
up on stage
just ripping it apart.
1539
01:06:08,024 --> 01:06:10,393
'Cause this was mid-'90s
to late '90s.
1540
01:06:10,615 --> 01:06:13,206
We ended up doing
some private thing together.
1541
01:06:13,208 --> 01:06:14,677
I was like, "Man, I forgot
1542
01:06:14,679 --> 01:06:16,726
how bad-ass Joan Jett was,"
you know?
1543
01:06:16,728 --> 01:06:19,221
Rock 'n' roll animal, I mean,
is there was ever anyone
1544
01:06:19,223 --> 01:06:22,072
that fit that description,
it's Joan through and through.
1545
01:06:28,119 --> 01:06:30,261
KENNY: I would say our period
during the '90s
1546
01:06:30,263 --> 01:06:32,118
was the most difficult.
1547
01:06:32,120 --> 01:06:35,288
If it was our fate to split up,
it would have been then,
1548
01:06:35,736 --> 01:06:37,145
but we stuck together.
1549
01:06:37,751 --> 01:06:39,285
(MAN LAUGHS)
1550
01:06:39,287 --> 01:06:40,822
Pretty scary sight?
1551
01:06:40,824 --> 01:06:42,136
MAN: It's a beautiful thing.
1552
01:06:42,551 --> 01:06:44,152
You know what?
1553
01:06:44,344 --> 01:06:46,581
I'm not trying to tell you
how to do lights or anything.
1554
01:06:46,583 --> 01:06:49,013
Doesn't it get cold
in the middle of the show?
1555
01:06:49,015 --> 01:06:51,032
We got a band here
from New York City
1556
01:06:51,224 --> 01:06:54,774
that have been performing
for soldiers for 18 years.
1557
01:06:54,776 --> 01:06:57,941
I wasn't for the Vietnam War,
but I also had people
1558
01:06:57,943 --> 01:07:01,208
in my family, like my godfather,
Uncle Nat,
1559
01:07:01,783 --> 01:07:03,861
who said, "You have
to serve your country."
1560
01:07:03,863 --> 01:07:07,320
So I started doing stuff
for the troops.
1561
01:07:07,574 --> 01:07:10,004
JOAN: I feel it's really
important to give back
1562
01:07:10,006 --> 01:07:11,862
and serve on some level,
1563
01:07:11,864 --> 01:07:14,293
and since I didn't
in that capacity,
1564
01:07:14,295 --> 01:07:16,341
I feel like that's
the least I can do.
1565
01:07:16,343 --> 01:07:19,957
KENNY: I never connected
the troops with the policy.
1566
01:07:19,959 --> 01:07:21,493
GENERAL BYRNES:
We put on a show,
1567
01:07:21,495 --> 01:07:24,473
packed house in Tuzla, Bosnia,
1568
01:07:24,696 --> 01:07:26,676
and you could see
her opening up
1569
01:07:26,678 --> 01:07:29,589
and trying to understand
what the people in that region
1570
01:07:29,591 --> 01:07:33,143
had been through, a very bloody
three-year conflict.
1571
01:07:33,464 --> 01:07:35,384
JOAN: I'm an antiwar person
1572
01:07:35,832 --> 01:07:39,703
who loves the people
in the military.
1573
01:07:39,895 --> 01:07:43,030
I don't like the military
for the military's sake.
1574
01:07:43,032 --> 01:07:45,557
Isn't it scary
that kids fight the wars?
1575
01:07:45,559 --> 01:07:46,552
Yeah.
1576
01:07:47,447 --> 01:07:48,821
- It's scary that there's war.
- Isn't it?
1577
01:07:48,823 --> 01:07:50,229
It's scary
that they're fighting
1578
01:07:50,231 --> 01:07:51,797
because there
are two religions
1579
01:07:51,799 --> 01:07:54,677
and they can't just be
curious about each other
1580
01:07:54,679 --> 01:07:57,112
instead of dominant
over one another.
1581
01:07:57,432 --> 01:07:59,317
Long ago, we decided
that was the tack
1582
01:07:59,319 --> 01:08:01,781
we were gonna take
as species, you know,
1583
01:08:01,783 --> 01:08:06,648
that we were gonna dominate
instead of sort of merge.
1584
01:08:06,903 --> 01:08:09,752
♪ (PLAYING "FETISH") ♪
1585
01:08:15,191 --> 01:08:19,545
♪ Oh, look good in latex ♪
1586
01:08:22,936 --> 01:08:27,897
♪ Get off having rough sex ♪
1587
01:08:29,782 --> 01:08:32,504
When 9/11 happened,
1588
01:08:33,622 --> 01:08:36,632
the first thing I thought of
was we gotta get over there.
1589
01:08:36,919 --> 01:08:38,742
They said they didn't want
the band.
1590
01:08:38,744 --> 01:08:40,470
They wanted just Kenny and I.
1591
01:08:40,472 --> 01:08:42,007
They wanted to keep
the footprints light.
1592
01:08:42,296 --> 01:08:44,501
People were just incredulous.
"Why are you here?"
1593
01:08:44,503 --> 01:08:46,455
We said, "We're here
'cause you're here.
1594
01:08:47,191 --> 01:08:48,789
We just want to say thank you."
1595
01:08:48,791 --> 01:08:50,229
BYRNES: The way she interacted,
1596
01:08:50,231 --> 01:08:52,150
there was nothing artificial
about it.
1597
01:08:52,152 --> 01:08:54,934
Others would come,
put on a show and leave.
1598
01:08:54,936 --> 01:08:56,437
Joan stayed.
1599
01:08:56,439 --> 01:08:58,102
I got so much
positive feedback
1600
01:08:58,104 --> 01:08:59,990
about how she made them feel.
1601
01:08:59,992 --> 01:09:01,909
And, oh, my God,
I have to say this.
1602
01:09:01,911 --> 01:09:03,702
You lifted up your arm,
and you've got hair
1603
01:09:03,704 --> 01:09:05,653
under your armpits
and no hair on your head!
1604
01:09:05,655 --> 01:09:08,376
I love that!
It's genius! It's genius!
1605
01:09:08,983 --> 01:09:11,927
You sound like my producer,
Kenny Laguna.
1606
01:09:12,120 --> 01:09:13,304
Will you show that again?
1607
01:09:13,816 --> 01:09:15,063
JOAN: Now what are you doing?
1608
01:09:15,896 --> 01:09:17,913
KENNY: Why can't you guys
get off my back?
1609
01:09:19,959 --> 01:09:22,296
Because it's such
a lovely back.
1610
01:09:23,446 --> 01:09:24,916
KENNY: Do you want to lick it?
1611
01:09:24,918 --> 01:09:26,360
No, I don't wanna lick it.
1612
01:09:27,638 --> 01:09:30,072
- KENNY: There's no hair on it.
- I don't care.
1613
01:09:30,678 --> 01:09:32,149
BILLIE JOE:
It's almost like watching
1614
01:09:32,151 --> 01:09:33,462
The Odd Couple a little bit.
1615
01:09:33,464 --> 01:09:34,550
There's something
about those two.
1616
01:09:34,552 --> 01:09:36,085
There's a special bond
1617
01:09:36,087 --> 01:09:37,813
and chemistry that they have
between them.
1618
01:09:37,815 --> 01:09:39,701
Kind of like George and Gracie
in reverse or something.
1619
01:09:39,703 --> 01:09:42,196
Can't you just keep your
thoughts to yourself for once?
1620
01:09:42,198 --> 01:09:44,757
You've been saying
the same thing over and over
1621
01:09:44,759 --> 01:09:46,932
and over and over all day
since I woke up.
1622
01:09:46,934 --> 01:09:48,821
Well, 'cause you said
as soon as I wouldn't
1623
01:09:48,823 --> 01:09:52,309
hand you the thing,
then you had to storm out!
1624
01:09:52,311 --> 01:09:54,455
JOAN: I'm not arguing
with you anymore.
1625
01:09:54,678 --> 01:09:57,044
You can tell there's
a deep love for each other
1626
01:09:57,046 --> 01:09:59,063
and that they're
inseparable people.
1627
01:09:59,256 --> 01:10:01,333
They're alter egos in a way,
aren't they?
1628
01:10:01,335 --> 01:10:04,150
They're twins
from different fathers.
1629
01:10:04,152 --> 01:10:06,101
(LAUGHS) In a sense.
1630
01:10:06,103 --> 01:10:09,109
And I guess that happens
with most good friendships.
1631
01:10:09,111 --> 01:10:12,312
I think people get so stuck
on relationships being...
1632
01:10:12,792 --> 01:10:17,336
a sexual relationship or having
to be a romantic relationship.
1633
01:10:17,718 --> 01:10:19,865
BILL: What is it
with your best friend
1634
01:10:20,087 --> 01:10:22,295
that you hit things off
with so easily?
1635
01:10:22,519 --> 01:10:24,888
You know, you actually know
what the other guy's thinking.
1636
01:10:25,080 --> 01:10:26,741
You tune in,
and I suppose
1637
01:10:26,743 --> 01:10:28,565
that's what they've got
going for them.
1638
01:10:28,567 --> 01:10:30,196
People don't find this
in their life partners.
1639
01:10:30,198 --> 01:10:32,182
People don't have the love
they have in marriages.
1640
01:10:32,184 --> 01:10:33,749
That's why they don't
stay together
1641
01:10:33,751 --> 01:10:34,808
as long as Kenny and Joan.
1642
01:10:35,896 --> 01:10:38,553
BILL: It's a marriage
without the sex, really.
1643
01:10:38,743 --> 01:10:40,569
Um, it's a mentor marriage.
1644
01:10:41,399 --> 01:10:43,284
MILEY: People literally
are fucking married
1645
01:10:43,286 --> 01:10:45,944
to people that they hate,
and then you see these two.
1646
01:10:46,391 --> 01:10:49,848
I'm putting this on just so
it'll be done for the future.
1647
01:10:50,039 --> 01:10:51,350
This is going in the trash.
1648
01:10:51,352 --> 01:10:52,984
No it's not.
I'm sending it to Caesar.
1649
01:10:53,624 --> 01:10:55,156
No. You'll just make
another one, Kenny.
1650
01:10:55,158 --> 01:10:56,886
I don't care.
I'm sending it to him.
1651
01:10:56,888 --> 01:10:59,000
No you're not, he won't be
able to get the tape off,
1652
01:10:59,415 --> 01:11:00,663
and it'll mark up the stuff.
1653
01:11:01,847 --> 01:11:04,247
He's gonna do... I know him.
Don't give me a fucking face.
1654
01:11:04,694 --> 01:11:06,677
Kenny is just...
He's just the classic
1655
01:11:06,679 --> 01:11:08,952
New York dude
that just loves music,
1656
01:11:09,240 --> 01:11:11,381
and he's a really caring person
that loves Joan
1657
01:11:11,383 --> 01:11:13,844
and just loves rock music
1658
01:11:13,846 --> 01:11:15,831
and just wants it
to just prevail.
1659
01:11:16,151 --> 01:11:17,816
Out, please.
I gotta get changed.
1660
01:11:18,199 --> 01:11:20,345
I'm sending it to
The Rock 'n' Roll Hall of Fame.
1661
01:11:22,103 --> 01:11:23,957
It's the one you almost wore.
1662
01:11:23,959 --> 01:11:26,105
KATHLEEN: He's a hard-core
feminist man.
1663
01:11:26,422 --> 01:11:29,557
He is totally
just a contrarian.
1664
01:11:29,559 --> 01:11:31,540
And he likes to fuck
with everything
1665
01:11:31,542 --> 01:11:33,045
anybody says ever.
1666
01:11:33,047 --> 01:11:34,390
They're a family
with each other,
1667
01:11:34,392 --> 01:11:36,180
and they're interdependent
on each other.
1668
01:11:36,182 --> 01:11:37,974
They really are partners.
1669
01:11:37,976 --> 01:11:40,116
Sure, it's dysfunctional.
Everything's dysfunctional.
1670
01:11:40,118 --> 01:11:42,840
But it's like
it's my kind of dysfunctional.
1671
01:11:43,063 --> 01:11:45,109
MILEY: And people want
to tell, I guess, everyone
1672
01:11:45,111 --> 01:11:46,740
how to be and who to love,
1673
01:11:46,742 --> 01:11:48,277
but you can't help
who you love,
1674
01:11:48,279 --> 01:11:49,784
and you can't help
what your relationship
1675
01:11:50,167 --> 01:11:51,544
is with them either.
1676
01:11:51,831 --> 01:11:53,653
DOUGIE NEEDLES: Whenever
they appear to be at odds...
1677
01:11:53,655 --> 01:11:56,597
(CHUCKLES)
Just wait until it blows over.
1678
01:11:56,599 --> 01:11:58,421
Because it does, it blows over,
and ten minutes later...
1679
01:11:58,423 --> 01:11:59,861
not even, five minutes later,
1680
01:11:59,863 --> 01:12:01,397
they're acting
like it never happened.
1681
01:12:01,399 --> 01:12:03,668
Best friends are supposed
to annoy you a little bit.
1682
01:12:03,670 --> 01:12:05,464
They gotta push your buttons
a little.
1683
01:12:06,102 --> 01:12:07,478
They keep you alive.
1684
01:12:07,480 --> 01:12:08,950
So it's an extraordinary
situation.
1685
01:12:08,952 --> 01:12:10,840
You won't see another one
like it, really.
1686
01:12:11,287 --> 01:12:12,852
KENNY: So the years went by.
1687
01:12:12,854 --> 01:12:15,701
Even though we were having
some profile,
1688
01:12:15,703 --> 01:12:17,303
we were not making money.
1689
01:12:17,622 --> 01:12:21,301
Carianne
came back from Colorado,
1690
01:12:21,303 --> 01:12:23,064
and Cari came on board.
1691
01:12:23,352 --> 01:12:26,196
When I got there,
my father was ready
1692
01:12:26,198 --> 01:12:29,172
to sign Rick Derringer's
Christian album.
1693
01:12:29,174 --> 01:12:31,093
It was "Rock and Roll,
Hoochie Koo,"
1694
01:12:31,095 --> 01:12:32,790
and instead of "Rock and Roll,
Hoochie Koo,"
1695
01:12:32,792 --> 01:12:34,453
it was "Jesus Christ,
Hoochie Koo."
1696
01:12:34,455 --> 01:12:36,630
My father always
had this philosophy of,
1697
01:12:36,632 --> 01:12:38,776
"If they're a friend,
we will put it out."
1698
01:12:39,223 --> 01:12:41,175
KENNY: You know, she was like,
"I'll stick around,
1699
01:12:41,559 --> 01:12:44,470
but we've gotta treat this
like a real label."
1700
01:12:44,472 --> 01:12:47,221
And she had grown up
in the business
1701
01:12:47,223 --> 01:12:49,272
but also had the attitude
of a young person.
1702
01:12:49,815 --> 01:12:53,269
Like, I didn't want iTunes.
iTunes to me was the enemy.
1703
01:12:53,271 --> 01:12:55,957
I'm selling
"I Love Rock 'n' Roll" for $17.
1704
01:12:55,959 --> 01:12:57,305
I don't want to sell it
for a dollar.
1705
01:12:57,655 --> 01:12:59,412
She finally talked me
into doing it,
1706
01:12:59,414 --> 01:13:01,780
and the first month,
we sold 70,000
1707
01:13:01,782 --> 01:13:03,671
"I Love Rock 'n' Roll"
downloads,
1708
01:13:04,503 --> 01:13:06,616
and we were in business.
1709
01:13:07,223 --> 01:13:09,430
JOAN: Cari came in,
and boom, boom, boom, boom.
1710
01:13:09,432 --> 01:13:11,413
KENNY: I had a meeting
with Kevin Lyman,
1711
01:13:11,415 --> 01:13:13,270
who owns The Warped Tour.
1712
01:13:13,272 --> 01:13:15,605
The Warped Tour
was this hip thing,
1713
01:13:15,607 --> 01:13:18,773
and it was kind of
a weird concept for Joan
1714
01:13:18,775 --> 01:13:20,116
to go on The Warped Tour.
1715
01:13:20,118 --> 01:13:21,910
CARIANNE BRINKMAN:
I think at that point,
1716
01:13:21,912 --> 01:13:25,621
Joan was not feeling
as inspired and my father, too.
1717
01:13:25,623 --> 01:13:28,182
I didn't see the fire
that I saw
1718
01:13:28,184 --> 01:13:29,750
after The Warped Tour.
1719
01:13:29,752 --> 01:13:33,976
It reignited her,
and it reignited the passion.
1720
01:13:34,200 --> 01:13:37,332
(CROWD CHEERING)
1721
01:13:37,334 --> 01:13:41,077
How's everybody doing?
Wow, look where we are.
1722
01:13:41,079 --> 01:13:42,199
This is so pretty.
1723
01:13:43,735 --> 01:13:45,780
I was actually born
in Pennsylvania.
1724
01:13:45,782 --> 01:13:49,368
(CROWD CHEERING)
1725
01:13:49,751 --> 01:13:51,796
LAURA JANE GRACE: And
you're traveling around the US
1726
01:13:51,798 --> 01:13:53,749
and playing in parking lots,
and I'm like, "Whoa,
1727
01:13:53,751 --> 01:13:55,636
Joan Jett and The Blackhearts
are gonna be on this tour?"
1728
01:13:55,638 --> 01:13:57,141
Joan's a real rock star,
1729
01:13:57,143 --> 01:13:58,932
and we just all want
to be rock stars.
1730
01:13:58,934 --> 01:14:01,300
I just will forever have
that mental image
1731
01:14:01,302 --> 01:14:05,783
of Joan on her BMX bike
with camo cutoff shorts
1732
01:14:05,976 --> 01:14:08,758
and big black sunglasses
just riding around
1733
01:14:08,760 --> 01:14:10,548
hanging out with everyone.
1734
01:14:10,550 --> 01:14:12,695
CARIANNE: You could just see
she was having fun,
1735
01:14:12,918 --> 01:14:16,597
and she was reminded of what
it was in the beginning.
1736
01:14:16,599 --> 01:14:18,232
♪ It ain't mine ♪
1737
01:14:18,423 --> 01:14:20,214
♪ It ain't yours ♪
1738
01:14:20,216 --> 01:14:22,104
♪ But I'm here ♪
1739
01:14:22,358 --> 01:14:24,117
♪ I ain't going anywhere ♪
1740
01:14:24,119 --> 01:14:25,686
♪ It ain't his ♪
1741
01:14:25,688 --> 01:14:27,224
♪ It ain't hers ♪
1742
01:14:27,704 --> 01:14:29,495
♪ It's for all ♪
1743
01:14:29,751 --> 01:14:32,117
♪ Is that something
We can learn? ♪
1744
01:14:32,119 --> 01:14:34,388
LAURA JANE: Your motivations
in order to survive
1745
01:14:34,390 --> 01:14:36,853
doing something like that
can't be, like,
1746
01:14:36,855 --> 01:14:38,581
fame and fortune.
1747
01:14:38,583 --> 01:14:40,660
You know, it has to be
the overall package
1748
01:14:40,662 --> 01:14:44,436
of, like, I'm going to be good
at every single element of this
1749
01:14:44,438 --> 01:14:46,516
or work at every single element
of this.
1750
01:14:46,518 --> 01:14:49,079
Seeing that as a younger
musician at the time,
1751
01:14:49,271 --> 01:14:51,287
you know, those are the people
I want to learn from.
1752
01:14:52,152 --> 01:14:56,472
♪ Gotta change
this world ♪
1753
01:14:56,695 --> 01:14:58,551
CARIANNE: From there,
we found our voice.
1754
01:14:58,871 --> 01:15:01,333
We found our next chapter.
1755
01:15:01,335 --> 01:15:02,776
JOAN: She runs the company now.
1756
01:15:03,703 --> 01:15:08,949
I think that's just
a beautiful cycle of life
1757
01:15:08,951 --> 01:15:10,356
when you see it
right in front of you.
1758
01:15:10,358 --> 01:15:13,015
We wanted to be a place
that said yes to people
1759
01:15:13,334 --> 01:15:16,212
and gave a platform
for young bands
1760
01:15:16,214 --> 01:15:21,623
that didn't fit into any kind
of typical major-label box.
1761
01:15:21,878 --> 01:15:23,671
♪ ("FEMINAZI" BY FEA PLAYS) ♪
1762
01:15:30,614 --> 01:15:33,048
FEA: There's a lot of bullshit
going on right now
1763
01:15:33,271 --> 01:15:36,180
with a dum-dum in office,
so we're musicians.
1764
01:15:36,182 --> 01:15:37,748
We have a platform,
1765
01:15:37,750 --> 01:15:39,256
people paying attention
to our music and lyrics.
1766
01:15:39,671 --> 01:15:42,260
She always let us speak freely
because she does so herself.
1767
01:15:42,262 --> 01:15:45,367
(SONG CONTINUES)
1768
01:15:52,598 --> 01:15:54,423
So in my final stay
at the state,
1769
01:15:54,614 --> 01:15:56,436
I was giving advice
1770
01:15:56,438 --> 01:15:58,004
to the new governor
1771
01:15:58,006 --> 01:15:59,989
that I've taken from someone
who I admire,
1772
01:15:59,991 --> 01:16:01,429
and they all know
that I love Joan Jett,
1773
01:16:01,431 --> 01:16:03,702
and so I just gave
one of her quotes
1774
01:16:03,704 --> 01:16:06,036
where she said, you know,
"Be yourself.
1775
01:16:06,038 --> 01:16:07,479
That's the way
it's supposed to be."
1776
01:16:08,631 --> 01:16:10,263
SHEPARD FAIREY: A lot
of musicians, entertainers,
1777
01:16:10,486 --> 01:16:13,301
they develop a degree of success
and notoriety
1778
01:16:13,303 --> 01:16:14,709
from their work,
and frequently,
1779
01:16:14,711 --> 01:16:17,620
they're less inclined
to take a stand
1780
01:16:17,622 --> 01:16:20,055
because that might alienate
a segment of their audience.
1781
01:16:20,280 --> 01:16:22,936
Joan, on the other hand,
is very outspoken.
1782
01:16:23,223 --> 01:16:27,191
When I came out
in 2012 as transgender, um,
1783
01:16:27,383 --> 01:16:30,996
Joan was one of the first people
to contact me to just say, like,
1784
01:16:30,998 --> 01:16:32,917
"Hey, you know,
if you need a friend
1785
01:16:32,919 --> 01:16:34,900
or someone to talk to,
I'm here."
1786
01:16:34,902 --> 01:16:37,876
♪ Well, now,
Don't get him wrong ♪
1787
01:16:37,878 --> 01:16:42,293
♪ And don't get him mad,
He might be a father... ♪
1788
01:16:42,295 --> 01:16:44,885
LAURA JANE: And it really...
it meant a lot to me, you know,
1789
01:16:44,887 --> 01:16:47,509
that there were few people that
I felt like I could relate to
1790
01:16:47,511 --> 01:16:50,805
at that time and few people
that, you know, I felt like
1791
01:16:50,807 --> 01:16:52,852
I had any kind
of shared experiences with,
1792
01:16:52,854 --> 01:16:54,548
not just, like,
being in a band
1793
01:16:54,550 --> 01:16:56,503
but when you're talking
about gender fluidity.
1794
01:16:56,759 --> 01:16:58,935
ALL:
♪ Androgynous ♪
1795
01:17:00,630 --> 01:17:04,340
♪ Closer than you know,
Love each other so ♪
1796
01:17:04,342 --> 01:17:07,028
MICHAEL: I know she championed
for women's causes
1797
01:17:07,030 --> 01:17:09,268
and LGBTQ causes,
and that's all great,
1798
01:17:09,270 --> 01:17:11,541
but I don't think
she's mushy about it.
1799
01:17:11,543 --> 01:17:13,624
ALL:
♪ See no damage ♪
1800
01:17:14,039 --> 01:17:15,094
She's straightforward
about it.
1801
01:17:15,096 --> 01:17:16,662
This is the way it should be,
1802
01:17:16,664 --> 01:17:17,880
and fuck you...
if you don't see it that way.
1803
01:17:18,231 --> 01:17:22,069
ALL: ♪ Kewpie dolls
And urine stalls ♪
1804
01:17:22,071 --> 01:17:27,351
♪ Will be laughed at the way
You're laughed at now ♪
1805
01:17:27,576 --> 01:17:30,740
I wish that more people
who were in a position
1806
01:17:30,742 --> 01:17:34,933
to use their voice beyond
just the art
1807
01:17:34,935 --> 01:17:37,460
that they create, you know,
would do that.
1808
01:17:37,462 --> 01:17:39,189
GENE BAUR: The way we interact
with animals
1809
01:17:39,191 --> 01:17:40,821
says a lot about who we are.
1810
01:17:40,823 --> 01:17:44,980
When we treat them with cruelty,
it says something.
1811
01:17:44,982 --> 01:17:46,485
When we treat them
with kindness,
1812
01:17:46,487 --> 01:17:48,246
it says something
very different.
1813
01:17:48,248 --> 01:17:50,292
JOAN: The way our culture
thinks about animals
1814
01:17:50,294 --> 01:17:52,789
or doesn't think about them
and their lives
1815
01:17:52,791 --> 01:17:56,597
and how they think and that they
feel pain and that they scream.
1816
01:17:56,599 --> 01:17:58,357
JOAN: (ON PHONE)
Chickens recognize each other
1817
01:17:58,359 --> 01:18:00,500
by their faces,
just like we do.
1818
01:18:00,502 --> 01:18:02,647
INTERVIEWER: What do you want
Norway to do?
1819
01:18:03,767 --> 01:18:06,104
Stop supporting
the seal slaughter in Canada.
1820
01:18:06,487 --> 01:18:09,973
Joan has always shown up.
She speaks out for animals.
1821
01:18:09,975 --> 01:18:12,950
She speaks out for people who
don't have enough of a voice.
1822
01:18:12,952 --> 01:18:14,584
Most people
don't think about it.
1823
01:18:14,775 --> 01:18:16,438
MICHELLE CHO: Animal rights
is human rights.
1824
01:18:16,440 --> 01:18:17,656
You know, humans are animals.
1825
01:18:18,103 --> 01:18:21,240
We all have the capacity
to feel pain,
1826
01:18:21,494 --> 01:18:24,277
to feel fear, to suffer.
1827
01:18:24,279 --> 01:18:26,229
JOAN: And I'm not trying
to demonize people
1828
01:18:26,231 --> 01:18:29,141
that do eat meat, and I try
not to preach to them,
1829
01:18:29,143 --> 01:18:31,800
but I do talk to people
about it if they're curious.
1830
01:18:33,750 --> 01:18:35,669
What have you been writing?
What are you doing?
1831
01:18:35,671 --> 01:18:37,461
Where you been?
How you doing?
1832
01:18:37,463 --> 01:18:39,416
Well, between watching
The View...
1833
01:18:39,671 --> 01:18:41,716
- 'Cause I watch it...
- (AUDIENCE CHEERS)
1834
01:18:41,718 --> 01:18:44,277
Yeah. I watch every day.
I did a movie.
1835
01:18:44,279 --> 01:18:46,932
I executive produced
a film about my first band
1836
01:18:46,934 --> 01:18:49,268
called The Runaways
that had Kristen Stewart,
1837
01:18:49,270 --> 01:18:51,188
Dakota Fanning in it,
thank you.
1838
01:18:51,190 --> 01:18:54,261
♪ Blonde bombshell
Better wear it well ♪
1839
01:18:54,263 --> 01:18:57,013
♪ Your mama says
You're going straight to hell ♪
1840
01:18:57,015 --> 01:18:58,488
KRISTEN STEWART: In a rehearsal,
before
1841
01:18:58,679 --> 01:19:00,600
we actually shot "Cherry Bomb,"
1842
01:19:00,791 --> 01:19:02,677
I was, like...
couldn't commit to it,
1843
01:19:02,679 --> 01:19:04,245
just felt like I was traipsing
on something.
1844
01:19:04,247 --> 01:19:05,591
I'm not good at rehearsal.
1845
01:19:06,007 --> 01:19:07,636
So she was like,
"What are you doing? Come on.
1846
01:19:07,638 --> 01:19:09,940
You know this. You got this."
I was like, "I know, I know.
1847
01:19:09,942 --> 01:19:11,415
I know, I know. I do got it.
Don't worry."
1848
01:19:11,830 --> 01:19:13,972
And she was like,
"Pussy to the fuckin' wood."
1849
01:19:13,974 --> 01:19:15,829
And I was like, "All right."
It's funny,
1850
01:19:15,831 --> 01:19:17,236
'cause, like, rock 'n' roll
is supposed to be messy
1851
01:19:17,238 --> 01:19:18,965
and fuck it,
nothing matters,
1852
01:19:18,967 --> 01:19:20,696
but it's truly the opposite
of that for her.
1853
01:19:20,919 --> 01:19:23,704
She has, like, a diligent
almost, like,
1854
01:19:23,895 --> 01:19:26,776
compulsive, like,
dedication to it.
1855
01:19:27,222 --> 01:19:28,664
And then was just like,
"Kristen...
1856
01:19:30,742 --> 01:19:31,927
pussy to the wood."
1857
01:19:32,311 --> 01:19:33,784
♪ My brain began to fry ♪
1858
01:19:34,071 --> 01:19:35,285
I think
the most surprising thing
1859
01:19:35,287 --> 01:19:36,981
is just how emotional
she is,
1860
01:19:36,983 --> 01:19:38,389
and I guess in retrospect
it makes total sense.
1861
01:19:38,391 --> 01:19:40,661
You look at the music,
and it definitely has
1862
01:19:40,663 --> 01:19:43,704
this kind of precious,
gritty,
1863
01:19:44,759 --> 01:19:48,820
girly, feminine snarl
that could only come
1864
01:19:48,822 --> 01:19:50,549
from somewhere
that's a little self-protective.
1865
01:19:50,551 --> 01:19:52,629
So here is a lady
who I can't believe
1866
01:19:52,631 --> 01:19:55,220
is not in
The Rock 'n' Roll Hall of Fame
1867
01:19:55,222 --> 01:19:56,248
who should be.
1868
01:19:56,887 --> 01:19:59,029
Ladies and gentlemen,
Joan Jett.
1869
01:19:59,031 --> 01:20:02,228
(CROWD CHEERING)
1870
01:20:02,230 --> 01:20:05,014
(PLAYING "SMELLS LIKE
TEEN SPIRIT" BY NIRVANA)
1871
01:20:12,854 --> 01:20:15,191
DAVE GROHL: We all have
our fucking heroes, you know?
1872
01:20:17,750 --> 01:20:19,864
And we made friends
1873
01:20:20,279 --> 01:20:23,349
with one of our fucking greatest
rock-'n'-roll heroes.
1874
01:20:23,351 --> 01:20:26,101
She made Pat want
to fucking start a band,
1875
01:20:26,103 --> 01:20:29,077
made it okay to be
fucking dirty and cool
1876
01:20:29,079 --> 01:20:32,599
and play rock 'n' roll
like a real rock-'n'-roller.
1877
01:20:33,014 --> 01:20:36,949
♪ I'm worse
At what I do best ♪
1878
01:20:36,951 --> 01:20:40,503
♪ And for this gift
I feel blessed ♪
1879
01:20:40,759 --> 01:20:44,981
♪ Our little group
Has always been ♪
1880
01:20:44,983 --> 01:20:48,501
♪ And always will
Until the end ♪
1881
01:20:48,503 --> 01:20:52,151
♪ Hello, hello, hello
How low ♪
1882
01:20:52,567 --> 01:20:55,928
♪ Hello, hello hello
How low ♪
1883
01:20:56,182 --> 01:21:00,340
♪ Hello, hello, hello
How low ♪
1884
01:21:00,342 --> 01:21:01,431
♪ Hello ♪
1885
01:21:02,743 --> 01:21:06,516
♪ With the lights out,
It's less dangerous ♪
1886
01:21:06,518 --> 01:21:10,356
♪ Here we are now,
Entertain us ♪
1887
01:21:10,358 --> 01:21:14,103
♪ I feel stupid
And contagious ♪
1888
01:21:14,359 --> 01:21:18,197
♪ Here we are now,
Entertain us ♪
1889
01:21:18,199 --> 01:21:22,036
♪ A mulatto, an albino ♪
1890
01:21:22,038 --> 01:21:25,876
♪ A mosquito, my libido ♪
1891
01:21:25,878 --> 01:21:28,692
Hey, just 'cause you wore
a cape doesn't mean I gotta.
1892
01:21:28,694 --> 01:21:31,252
You know what?
I had a cape.
1893
01:21:31,254 --> 01:21:33,589
And I left it at home because
you were wearing a fucking cape,
1894
01:21:33,591 --> 01:21:35,704
and now you're not
gonna wear the cape?
1895
01:21:36,278 --> 01:21:37,942
- Can I wear her cape?
- Yes.
1896
01:21:38,902 --> 01:21:39,958
MAN: Try it on.
1897
01:21:42,070 --> 01:21:44,567
JOAN: Depending on what
you think is a normal,
1898
01:21:44,758 --> 01:21:46,264
regular life,
1899
01:21:46,487 --> 01:21:47,988
being in a band,
you know,
1900
01:21:47,990 --> 01:21:50,228
you're pretty much all consumed
with it, yeah.
1901
01:21:50,230 --> 01:21:52,788
Is that healthy?
I don't know.
1902
01:21:52,790 --> 01:21:55,640
I'm not a doctor.
Probably not super.
1903
01:21:56,374 --> 01:21:59,319
But, you know,
it's what I enjoy.
1904
01:22:00,311 --> 01:22:02,996
I think it makes it
sort of difficult
1905
01:22:02,998 --> 01:22:04,565
to have relationships.
1906
01:22:04,567 --> 01:22:06,104
I would think that would
probably be...
1907
01:22:06,615 --> 01:22:10,296
I guess if you call it
a sacrifice, that would be it.
1908
01:22:10,678 --> 01:22:14,455
To say music is my mate
would be pretty fair statement.
1909
01:22:14,806 --> 01:22:16,407
And I get a lot from it.
1910
01:22:18,582 --> 01:22:21,111
But it's not...
it's not a person.
1911
01:22:22,454 --> 01:22:24,215
And I think I know
the difference.
1912
01:22:24,438 --> 01:22:27,031
I'm gonna start off
this induction
1913
01:22:27,383 --> 01:22:31,095
with the first time I wanted
to have sex with Joan Jett.
1914
01:22:31,511 --> 01:22:34,388
(AUDIENCE CHEERS)
1915
01:22:34,390 --> 01:22:36,821
And we were doing Oprah
together,
1916
01:22:36,823 --> 01:22:39,222
and I go up to Joan's
hotel room,
1917
01:22:39,638 --> 01:22:42,581
and Joan opens the door,
and I come in,
1918
01:22:42,583 --> 01:22:44,824
and Kenny Laguna
is laying in bed.
1919
01:22:45,046 --> 01:22:47,031
And I don't know
what the fuck is going on.
1920
01:22:47,254 --> 01:22:49,751
JOAN: Oh, looks beautiful.
You look beautiful.
1921
01:22:50,230 --> 01:22:51,736
MAN: That's it.
You're wearing the cape.
1922
01:22:52,279 --> 01:22:53,463
Screamin' Jay Hawkins.
1923
01:22:54,520 --> 01:22:57,463
I know there isn't one other
person on this planet
1924
01:22:57,751 --> 01:23:00,948
that's been an inspiration
to me like you have, and...
1925
01:23:00,950 --> 01:23:02,743
Is being famous
important to you?
1926
01:23:03,190 --> 01:23:04,660
I want a certain
sort of fame.
1927
01:23:04,662 --> 01:23:06,453
Like when they write
the ultimate
1928
01:23:06,455 --> 01:23:09,557
rock 'n' roll history book,
I want my name to be there,
1929
01:23:09,559 --> 01:23:11,253
you know,
standing for something,
1930
01:23:11,255 --> 01:23:13,624
like being one of the first
females to really,
1931
01:23:14,134 --> 01:23:15,732
you know, play rock 'n' roll
1932
01:23:15,734 --> 01:23:17,111
and have that sort of
rock-'n'-roll spirit.
1933
01:23:17,591 --> 01:23:19,511
- (CROWD CHEERING)
- Hi!
1934
01:23:22,102 --> 01:23:23,828
KATHLEEN: I think people
don't think of her like,
1935
01:23:23,830 --> 01:23:25,588
"Oh, you know, feminist",
1936
01:23:25,590 --> 01:23:27,700
like, immediately,
but the visceral experience
1937
01:23:27,702 --> 01:23:30,676
of Joan is
a feminist experience for me.
1938
01:23:30,678 --> 01:23:35,095
Watching the way she holds
herself like a normal person,
1939
01:23:35,351 --> 01:23:37,268
not like someone
who is self-conscious
1940
01:23:37,270 --> 01:23:39,251
and trying to be a good girl.
1941
01:23:39,253 --> 01:23:43,220
Here's somebody who was born
to do this and is doing it.
1942
01:23:43,222 --> 01:23:45,716
There's just those rare times
where you feel like
1943
01:23:45,718 --> 01:23:47,829
someone was put on the planet
to show you
1944
01:23:47,831 --> 01:23:50,231
what rock 'n' roll music is.
1945
01:23:50,551 --> 01:23:52,180
It could be Bowie.
It could be Kurt Cobain.
1946
01:23:52,182 --> 01:23:53,398
It's definitely Joan Jett.
1947
01:23:53,622 --> 01:23:56,056
(CHEERING CONTINUES)
1948
01:23:56,279 --> 01:23:58,421
I was really gonna try
not to cry and be tough,
1949
01:23:58,423 --> 01:24:00,500
but that's
a little overwhelming there.
1950
01:24:00,502 --> 01:24:01,335
Thank you very much.
1951
01:24:01,910 --> 01:24:04,535
(CHEERING AND APPLAUSE)
1952
01:24:06,838 --> 01:24:10,101
First off, I really want
to acknowledge my parents,
1953
01:24:10,103 --> 01:24:13,877
Jim and Dottie, who can only be
with us in spirit,
1954
01:24:13,879 --> 01:24:15,160
which I know they are.
1955
01:24:15,862 --> 01:24:18,100
Hey, Mom and Dad,
did you ever think
1956
01:24:18,102 --> 01:24:20,373
that Christmas guitar
would lead to this?
1957
01:24:20,375 --> 01:24:22,039
(LAUGHTER)
1958
01:24:22,422 --> 01:24:24,022
I want to be a release.
1959
01:24:24,471 --> 01:24:27,320
I want to be a hard release,
a good release,
1960
01:24:28,118 --> 01:24:29,495
a primal release.
1961
01:24:29,879 --> 01:24:32,563
You do a primal scream,
but it's not at someone
1962
01:24:32,565 --> 01:24:35,957
or breaking something,
it's, "Aah!" just into the air
1963
01:24:35,959 --> 01:24:38,422
about appreciation
being alive, you know?
1964
01:24:38,743 --> 01:24:41,080
KENNY: This is a family
that's been together
1965
01:24:41,653 --> 01:24:46,868
since 1979 and never wavered
from each other.
1966
01:24:46,870 --> 01:24:48,021
JOAN: It's all of us.
1967
01:24:48,790 --> 01:24:51,764
We all get support and love
and strength from each other
1968
01:24:51,766 --> 01:24:55,159
and feel like we can go
to each other when we need to.
1969
01:24:55,799 --> 01:24:57,559
And I think
that's really important,
1970
01:24:57,751 --> 01:25:00,628
to be able to feel vulnerable
to the people you work with
1971
01:25:00,630 --> 01:25:03,223
and be able to feel like
they've got your back.
1972
01:25:03,670 --> 01:25:07,028
If you want to get really deep,
there are no two things.
1973
01:25:07,030 --> 01:25:08,182
We're all one.
1974
01:25:09,239 --> 01:25:10,744
WOMAN: I want to tell you
a story about Joan
1975
01:25:11,221 --> 01:25:12,343
being a wonderful woman.
1976
01:25:13,399 --> 01:25:16,053
I want to tell you a story
about how people say
1977
01:25:16,055 --> 01:25:18,643
that she opened the door
for women in rock.
1978
01:25:18,645 --> 01:25:20,631
And I don't think she opened
the door.
1979
01:25:21,462 --> 01:25:22,932
I think she took out
a sledgehammer,
1980
01:25:22,934 --> 01:25:25,176
and she knocked down
the whole damn wall.
1981
01:25:25,495 --> 01:25:28,502
(CROWD CHEERING)
1982
01:25:34,453 --> 01:25:37,398
(A CAPELLA) ♪ I don't give
A damn 'bout my reputation ♪
1983
01:25:38,935 --> 01:25:41,656
♪ You're living in the past
It's a new generation ♪
1984
01:25:42,998 --> 01:25:45,620
♪ And a girl can do
What she wants to do ♪
1985
01:25:45,622 --> 01:25:47,543
♪ And that's
What I'm gonna do ♪
1986
01:25:47,734 --> 01:25:50,708
♪ And I don't give a damn
'Bout my bad reputation ♪
1987
01:25:50,710 --> 01:25:53,718
♪ ("FRESH START" BY JOAN JETT
AND THE BLACKHEARTS PLAYS) ♪
1988
01:25:55,573 --> 01:25:57,111
Ow!
1989
01:25:59,318 --> 01:26:01,846
♪ Yeah, yeah, yeah,
Yeah, yeah, yeah ♪
1990
01:26:04,630 --> 01:26:07,061
♪ Yeah, yeah, yeah,
Yeah, yeah, yeah ♪
1991
01:26:07,063 --> 01:26:09,752
♪ Sometimes I feel like
I've been here before ♪
1992
01:26:09,942 --> 01:26:12,502
♪ It's like the past knocking
On my door ♪
1993
01:26:12,694 --> 01:26:15,063
♪ Sometimes I feel like
I'm standing still ♪
1994
01:26:15,285 --> 01:26:18,166
♪ Or better yet
I'm runnin' up a hill, hey ♪
1995
01:26:23,351 --> 01:26:25,912
♪ Sometimes I feel like
I need a crutch ♪
1996
01:26:26,102 --> 01:26:28,887
♪ Sometimes I feel like
It's all too much ♪
1997
01:26:29,078 --> 01:26:31,732
♪ Sometimes I wonder
What are we in for ♪
1998
01:26:31,734 --> 01:26:34,035
♪ And if I wanna do it
Anymore ♪
1999
01:26:34,037 --> 01:26:36,821
♪ I need a fresh start,
Let's go back to the top ♪
2000
01:26:36,823 --> 01:26:39,512
♪ Rewind the tape
And reset the clock ♪
2001
01:26:39,702 --> 01:26:43,574
♪ This time
There's no turning back ♪
2002
01:26:44,630 --> 01:26:46,263
♪ Hey! ♪
2003
01:26:48,438 --> 01:26:51,190
♪ Yeah, yeah, yeah,
Yeah, yeah, yeah ♪
2004
01:26:54,006 --> 01:26:56,374
♪ Yeah, yeah, yeah,
Yeah, yeah, yeah ♪
2005
01:26:56,630 --> 01:26:59,444
♪ So you say
You're not satisfied ♪
2006
01:26:59,446 --> 01:27:01,908
♪ And you want
A bigger piece of pie ♪
2007
01:27:01,910 --> 01:27:04,278
♪ Take my advice,
Don't hesitate ♪
2008
01:27:04,631 --> 01:27:07,061
♪ Before you know it,
It'll be too late ♪
2009
01:27:07,063 --> 01:27:10,132
♪ To make a fresh start
And go back to the top ♪
2010
01:27:10,134 --> 01:27:12,374
♪ Rewind the tape
And reset the clock ♪
2011
01:27:12,886 --> 01:27:16,727
♪ This time
We're not gonna stop ♪
2012
01:27:17,751 --> 01:27:20,823
♪ That's right, a fresh start
And go back to the top ♪
2013
01:27:21,013 --> 01:27:23,542
♪ Rewind the tape
And reset the clock ♪
2014
01:27:23,735 --> 01:27:27,735
♪ And this time
There's no turning back ♪
2015
01:27:28,630 --> 01:27:29,654
♪ All right ♪
2016
01:27:32,502 --> 01:27:35,192
♪ Yeah, yeah, yeah,
Yeah, yeah, yeah ♪
2017
01:27:38,070 --> 01:27:40,566
♪ Yeah, yeah, yeah,
Yeah, yeah, yeah, ow ♪
2018
01:28:02,743 --> 01:28:05,588
♪ Sometimes I feel like
I've been here before ♪
2019
01:28:05,590 --> 01:28:07,832
♪ Is that the past knocking
On my door? ♪
2020
01:28:08,022 --> 01:28:10,712
♪ Sometimes I feel like
I'm standing still ♪
2021
01:28:10,901 --> 01:28:13,463
♪ Or better yet,
I'm running up a hill ♪
2022
01:28:13,781 --> 01:28:16,468
♪ Don't wanna hear
That you're feeling old ♪
2023
01:28:16,470 --> 01:28:19,572
♪ Times are tough,
You better search your soul ♪
2024
01:28:19,574 --> 01:28:22,068
♪ There's some time
For one more dance ♪
2025
01:28:22,070 --> 01:28:24,213
♪ We may never
Get another chance ♪
2026
01:28:24,215 --> 01:28:27,189
♪ To make a fresh start
And go back to the top ♪
2027
01:28:27,191 --> 01:28:30,036
♪ Rewind the tape
And reset the clock ♪
2028
01:28:30,038 --> 01:28:33,623
♪ This time
We're not gonna stop ♪
2029
01:28:34,871 --> 01:28:37,780
♪ That's right, a fresh start,
And go back to the top ♪
2030
01:28:37,782 --> 01:28:40,788
♪ Rewind the tape
And reset the clock ♪
2031
01:28:40,790 --> 01:28:45,078
♪ This time
We're not gonna stop ♪
2032
01:28:46,453 --> 01:28:50,583
♪ This time
There's no turning back ♪
2033
01:28:51,990 --> 01:28:56,343
♪ This time
We're not gonna stop ♪
2034
01:28:57,462 --> 01:29:01,592
♪ This time
There's no turning back ♪
2035
01:29:02,742 --> 01:29:07,030
♪ This time
We're not gonna stop ♪
2036
01:29:08,215 --> 01:29:12,664
♪ This time
There's no turning back ♪
2037
01:29:13,814 --> 01:29:17,142
♪ This time
We're not gonna stop ♪
2038
01:29:17,144 --> 01:29:22,144
Subtitles by explosiveskull