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Janis Ian: Breaking Silence— a comprehensive documentary showcasing the remarkable life and career of singer-songwriter Janis Ian — is currently showing in theaters and offers an in-depth look at her artistic journey. The film’s inception was surprisingly humble, beginning with a straightforward message to Ian’s official website.
“I introduced myself and expressed my desire to make a film about her,” recalls London-born director Varda Bar-Kar in an interview. With a smirk, Ian humorously interjects, “I said ‘no’ right away.” This initial rejection could have stymied the project; however, Bar-Kar’s tenacity and a series of fortuitous events guided their collaboration forward. The two eventually discovered mutual connections and shared interests, particularly in Zen Buddhism, deepening their rapport.
Ian candidly reflects on her reluctance to open up for a documentary, particularly after turning down a lucrative film deal with another party. “I wanted to avoid a superficial portrayal,” she states. Yet after viewing Bar-Kar’s 20-minute proof of concept, she felt confident entrusting the director with her narrative.
Ian’s aspiration for the documentary was to resonate with the modern zeitgeist, a goal that Bar-Kar effectively accomplished. The film intricately weaves Ian’s personal evolution alongside the tumultuous backdrop of America’s social changes over the decades. It illustrates the impact of the Civil Rights Movement on her songwriting, in particular her seminal track “Society’s Child,” which confronted racial barriers. This song propelled Ian into the public eye, reaching No. 14 on the Billboard Hot 100 in 1967, even as she faced backlash and discrimination during performances.
But Ian’s journey didn’t stop with that initial success. After coming out as a lesbian in 1993, she contended with fluctuating public perceptions—sometimes celebrated, other times scorned. The documentary utilizes her poignant lyrics, personal anecdotes, and new interviews with notable figures such as Joan Baez and Lily Tomlin to illuminate her lasting significance in music and culture.
On a recent morning in Manhattan, Ian and Bar-Kar shared insights with Billboard about the film’s creation, the challenges of music licensing, and the absence of Ian’s performance from the inaugural episode of Saturday Night Live. Janis Ian: Breaking Silence is currently playing in select theaters, with a streaming release set for April 29.
In the documentary, Janis, you appeared on Leonard Bernstein’s television program at age 14. Did you grasp the significance of that opportunity at the time?
Ian: It didn’t resonate as a significant moment for me. My family was quite excited, but for me, it was just about finishing my Spanish homework—Felicia Bernstein actually helped me with that! My parents had aspirations for me to pursue classical music or medicine, neither of which interested me. When I expressed my desire to be a singer-songwriter, they were somewhat supportive, but not particularly enthusiastic. Bernstein was a visionary attempting to convince the cultural elite that America had its own artistic identity. He represented the ideal of the artist using their gift for community service, something that aligned perfectly with “Society’s Child.”
You discuss in the film how you emulated artists like Odetta and Joan Baez before discovering your unique style. What advice do you have for aspiring musicians still trying to find their own sound?
Ian: My generation had specific advantages; back then, we would painstakingly write down lyrics from albums since they often weren’t provided. I believe that mimicking other artists can ultimately enhance your development as an artist, as it reveals what resonates with you and areas for improvement. For me, I found that my recorded voice didn’t match the sound in my head. I spent time apprenticing in a recording studio, learning the technical aspects of music production, which improved my vocal control. Nowadays, the challenge lies in the quick access to music production. The pressure to release songs frequently might hinder artists’ self-exploration and maturation.
Varda, this film features numerous vintage clips and music, which must have posed significant licensing challenges.
Bar-Kar: Unearthing those clips felt like a treasure hunt, but securing licenses was indeed arduous. The documentary took years to research, and we dug through an extensive collection of materials.
Ian: (chuckles) It turned into a monumental task. I jokingly suggested to Varda that she can use anything I own to make up for the struggle.
Bar-Kar: We began with nearly 50 songs, and not all of them were under your control, right?
Ian: Exactly, and navigating the licensing maze was truly daunting.
Ian, you performed “At Seventeen” on the first episode of SNL, yet that is not included in the film. Was it a matter of licensing?
Ian: We ultimately determined it was minor. It would not have added much to the narrative.
Bar-Kar: In hindsight, it turned out to be quite fortunate for the film.
Ian: Right, especially given the excessive focus on those SNL milestones. However, we were fortunate to have the performance from Johnny Carson’s show, which provided our film with a compelling moment.
Bar-Kar: It aligns with a broader context—similar to the Bob Dylan film, A Complete Unknown, and SNL 50—each filling gaps in the larger cultural narrative.
Ian: Comparing it to recent portrayals, I found the Queen biopic particularly compelling for its realistic depiction of a live performance. It perfectly captured the chaotic atmosphere backstage, stripping away the mythic elements often glamorized in the industry.
In 2022, you had to cancel your farewell tour due to vocal cord issues. Do you feel this documentary offers some closure for that?
Ian: In truth, there’s no real closure. I still grapple with my feelings about it. The specialists informed me that I was fortunate to have maintained any vocal ability at all. After a lengthy career, I recognize the toll that extensive vocal use has taken. I’ve come to terms with the fact that perfection is an unrealistic expectation, and I find solace in the realization that my latest album, The Light at the End of the Line, genuinely reflects my abilities.
It must have been beneficial to take your time with that album, unlike your previous work such as Aftertones, which you felt rushed to release after “At Seventeen” became a hit.
Ian: Absolutely, Aftertones was a challenging experience for me. I was astonished to receive a Grammy nomination for my latest album without actively campaigning for it. That achievement, alongside my extensive career, provides a sense of accomplishment.
Unlike many artists, you truly harnessed your vocal capabilities to their fullest.
Bar-Kar: [to Ian] Your singing voice is remarkable.
Ian: I can manage a few lines, but I’m unsure about attempting an entire song.
Your song “Stars” has been covered by many artists, including Nina Simone, which is incredibly flattering. Did you forge a friendship with her?
Ian: We were acquaintances. Nina was a complex person, but spending time with her was always rewarding. She once invited me to watch her perform in a small intimate setting, which deeply influenced my artistry. On one occasion, I casually invited her over for lunch, not realizing my mother would end up managing the situation when she arrived with James Baldwin and a few drinks!
Bar-Kar: I would recommend her autobiography for anyone interested—there is so much more to her story than what is shared onscreen.
Ian: It’s currently out of print, but I’ve recently secured my rights back from Random House.
Bar-Kar: Just wait a couple months and it’ll be available for purchase.
Ian: In the meantime, you can download the audiobook, which even won a Grammy. I’ve learned a great deal about licensing through my experiences as both a narrator and artist. The complexities surrounding song usage in projects with corporate entities can be overwhelming and frustrating.
Bar-Kar: I’ve heard that the industry has shifted from being run by music aficionados to more business-centric management.
Ian: Yes, it’s a notable change. The earlier industry comprised many individuals who once aspired to be artists themselves. Once the business-minded individuals gained influence in the 1980s, the dynamic shifted significantly. It became increasingly difficult for passionate music lovers to thrive amidst corporate interests.
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