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[Narrator] Previously
on Women Who Rock...
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[Mavis Staples]
People started saying
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00:00:04,743 --> 00:00:07,224
the Staple Singers
are singing the devil's music.
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[Merry Clayton]
It was rock 'n' roll,
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00:00:08,878 --> 00:00:10,401
and it would lead you
down a path
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00:00:10,532 --> 00:00:12,360
that was not very savory.
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[Tori Amos]
Nina Simone's voice
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00:00:13,883 --> 00:00:15,798
was a challenge to wake up.
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00:00:15,928 --> 00:00:18,148
"Mississippi Goddamn,"
Wow.
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♪ Yeah!
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[singing bass line
to "I'll Take You There"]
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00:00:22,935 --> 00:00:26,243
[Nona Hendryx]
We had coiffed hair and tiaras.
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00:00:26,374 --> 00:00:28,332
That was about a fantasy.
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[Chaka Khan] In that day,
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00:00:30,508 --> 00:00:31,727
it wasn't unusual
for a band
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00:00:31,857 --> 00:00:33,772
to be discovered
at a club,
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00:00:33,903 --> 00:00:35,600
and to sign a record deal
on the spot.
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[electric guitar strum]
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[amplifier feedback]
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[electric guitar strum]
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Growing up,
when I discovered
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00:00:49,919 --> 00:00:54,010
these incredible women
making rock music,
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00:00:54,141 --> 00:00:56,143
I mean, that's, like--
that's the dream.
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People would be like, "Whoa,
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00:01:00,060 --> 00:01:01,539
look at that little gal
with that big guitar,"
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00:01:01,670 --> 00:01:04,064
like a novelty.
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00:01:04,194 --> 00:01:06,631
[Benatar] I wanted
to break the boys' club.
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I wanted to break down
that bullshit.
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[Khan] I said,
"Let me tell you something.
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I'm going to be a star
with or without you."
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[Jett] Growing up, I thought,
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"There's gotta be other girls
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that wanna play rock 'n' roll.
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I can't be the only one."
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[Twain] There's something
very liberating
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about being able to take on
a rock 'n' roll attitude
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and not have to abandon your
femininity at the same time.
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[Crow] There were lots of
obstacles along the way for me,
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but I knew the only person
that could drive my ship
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that I felt I could trust
was me.
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[Staples] I'm not a diva.
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I love people.
I'm a people person.
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I'm just Mavis.
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Just Mavis.
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Yep.
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♪♪♪
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["Barracuda" playing]
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[singing guitar riff from
"Barracuda"]
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Dun-dun... whoop!
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["Barracuda" continues]
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♪♪♪
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-♪ So this ain't the end...
-When I hear "Barracuda,"
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I feel like a barracuda.
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Like... [laughs]
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I remember being
in seventh grade
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with my best friend,
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and we would play the intro
to "Barracuda."
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I mean, we played it poorly,
of course.
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♪ Back over time
we were all trying for free ♪
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Singing "Barracuda" was...
[laughs]
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I would say
a very liberating experience.
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[Nancy Wilson] When a voice
like Ann Wilson's voice
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00:03:08,797 --> 00:03:10,538
is right out front,
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she's just got this gift
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that you have to notice it.
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♪ You gonna burn, burn, burn,
burn, burn to the wick ♪
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[Natalie Merchant]
They frightened me.
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It's like,
"There are bad girls."
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That's what I... [laughs]
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They were powerful,
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but it was like
a witches' coven.
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♪♪♪
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-All right!
-[crowd cheering]
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There was a situation
at a party
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where some sleazy record guys
came up to Ann,
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and said,
"Hey, how's your lover?"
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She's like, "Well, my boyfriend,
Mike, he's fine."
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He said,
"No, I mean your sister.
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How's your lover?"
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And so the insinuation
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was that we were
sister-lovers, right?
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She was so livid about that.
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She stomped off,
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and went and wrote the words
to "Barracuda" that same night.
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We knew it needed to have
an angry groove
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because it's an angry song
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about slimeballs, really,
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and, uh...
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it's a good song.
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[chuckles]
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♪♪♪
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In the early '60s,
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I was about nine at the time,
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00:04:21,957 --> 00:04:23,785
the culture had shifted so much,
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mainly from the Beatles.
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There was so much rich soil
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to plant your seed in musically
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that we were so lucky
to grow up with,
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00:04:35,100 --> 00:04:38,974
but seeing the Beatles
on The Ed Sullivan Show
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00:04:39,104 --> 00:04:40,584
was like the lunar landing.
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[fans screaming]
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00:04:47,809 --> 00:04:52,074
The Beatles ignited the flame
in me and my sister Ann,
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and the culture, and the world
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in just an explosive
inspiration.
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We just wanted
to be the Beatles.
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We didn't want to be girls
trying to be the Beatles.
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We just wanted
to be the Beatles...
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00:05:04,782 --> 00:05:06,523
and being that young,
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00:05:06,654 --> 00:05:08,133
we didn't have any concept
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00:05:08,264 --> 00:05:11,485
that it wasn't natural
just to go and get guitars
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and be kids with a band.
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[Ann Wilson]
We were raised by a mother
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who never laid down the rules
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of what girls
are supposed to be.
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She just said, "Be yourself."
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So it was all news to me
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that there was this dictate
from the world of rock men,
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that this is what the image
of a rock woman had to be.
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Ultimately...
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can I say "fuckable"?
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Not necessarily in charge,
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00:05:38,250 --> 00:05:39,991
so that came
as a real shock to me.
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[Nancy Wilson]
Women in popular music culture
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at the time
seemed ornamental to me,
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00:05:47,085 --> 00:05:49,174
like the front woman
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who had to be really dolled up
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00:05:52,090 --> 00:05:54,919
and have the feminine charm
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more than any kind of aggressive
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or, you know, bold statement.
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So, demure, you know?
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It was much later
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that we already had kind of
broken those rules
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00:06:07,018 --> 00:06:09,020
about what girls
are supposed to do
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00:06:09,151 --> 00:06:11,588
or not supposed to really
get away with.
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00:06:11,719 --> 00:06:12,850
We already got away with it
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00:06:12,981 --> 00:06:15,287
before we had
the conscious decision
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00:06:15,418 --> 00:06:17,899
of doing it
against the gender lines.
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00:06:18,029 --> 00:06:19,596
We were just kind of
free with it.
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00:06:19,727 --> 00:06:20,858
We just did it.
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In the mid-late 70s,
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the music business
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was definitely
a male-dominated industry,
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00:06:31,695 --> 00:06:35,133
a lot of real
kind of slimeballs,
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00:06:35,264 --> 00:06:38,398
more normally
in the business part.
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00:06:38,528 --> 00:06:42,576
You know, they'd be really
kind of sexually inappropriate,
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00:06:42,706 --> 00:06:45,274
but I think even more
in that era,
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that it was more kind of
expected in the business of it,
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and here's these, you know,
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little, vulnerable,
fresh-faced,
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00:06:55,197 --> 00:06:56,938
apple-cheeked girls
from Seattle.
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00:06:58,156 --> 00:07:01,029
♪♪♪
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00:07:03,335 --> 00:07:06,382
In the early 70s,
we lived in Canada,
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00:07:06,513 --> 00:07:10,821
and we cut our teeth
in Vancouver.
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We were a working band.
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We really worked hard
to learn the craft,
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be diligent,
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like, practice...
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And then we would get in a van,
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one van with the whole band,
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and trek across
the Canadian tundra,
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you know,
to some other cabaret.
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We got kicked out of one place
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because Ann commented about
the dinner club food
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tasted like Sterno...
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[laughs]
and so we got kicked out.
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We were fired on the spot,
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and so we set fire
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to the dressing room
and left.
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[laughs]
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00:07:51,035 --> 00:07:54,125
But then we got a call
from Rod Stewart
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that his opener in Montreal
had to drop out,
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so we got that job
the next day.
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00:08:01,350 --> 00:08:04,092
We went across Canada
on the train,
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00:08:04,222 --> 00:08:07,182
and played for Rod Stewart
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00:08:07,312 --> 00:08:09,967
after being kicked out
of the dinner club. [laughs]
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00:08:11,882 --> 00:08:14,145
There were
a million thrills to be had
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00:08:14,276 --> 00:08:15,843
on those big stages.
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00:08:17,018 --> 00:08:19,890
Like the first time
we opened for Rod Stewart,
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it was like, "Wow!"
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00:08:22,371 --> 00:08:23,720
The people lit their lighters,
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00:08:23,851 --> 00:08:26,157
and they knew the song.
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We were like, "Wow!"
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00:08:27,594 --> 00:08:30,466
It's like a constellation
of little flames
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00:08:30,597 --> 00:08:32,903
in this huge room
and this big stage,
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00:08:33,034 --> 00:08:34,949
and it was super magical
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00:08:35,079 --> 00:08:37,691
by way of the introduction
onto the big stage.
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00:08:37,821 --> 00:08:39,519
[crowd cheering]
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It was a much bigger deal
than I anticipated.
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00:08:50,312 --> 00:08:53,054
Suddenly were bigger
and bigger stages,
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00:08:53,184 --> 00:08:55,404
and then stadiums
and festivals,
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00:08:55,535 --> 00:08:58,276
and a sea of people
as far as your eyes could see,
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00:08:58,407 --> 00:09:00,235
with relay towers beyond that.
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00:09:00,365 --> 00:09:04,195
It blew up pretty--
pretty big, you know.
194
00:09:04,326 --> 00:09:07,459
At this point, there's no
negative nervousness,
195
00:09:07,590 --> 00:09:10,332
but there is a...
there's a real anxiousness
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00:09:10,462 --> 00:09:12,203
to get out there
and do it, you know?
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00:09:16,991 --> 00:09:18,862
[Ann Wilson] If you really
want to do it up,
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00:09:18,993 --> 00:09:21,082
and be as big as you can,
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00:09:21,212 --> 00:09:22,910
you must tour. You must.
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00:09:24,651 --> 00:09:26,957
You have to let them see
that you're real.
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00:09:27,088 --> 00:09:29,220
You know,
you have to touch them.
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00:09:29,351 --> 00:09:32,354
[announcer]
Please welcome Heart!
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00:09:32,484 --> 00:09:35,357
♪♪♪
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00:09:35,487 --> 00:09:38,142
[Nancy Wilson]
We were so unafraid
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00:09:38,273 --> 00:09:40,797
to be brand-new and different.
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00:09:40,928 --> 00:09:41,406
You know, into our 20s,
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00:09:41,537 --> 00:09:43,495
we started to go, "Whoa,
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00:09:43,626 --> 00:09:45,280
there's nothing out there
like us,
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00:09:45,410 --> 00:09:47,891
and that's a good thing."
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00:09:48,022 --> 00:09:49,806
It set us apart,
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00:09:49,937 --> 00:09:52,069
and we were not shy with it.
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00:09:52,200 --> 00:09:55,856
We were just going to flex it,
you know, and be loud.
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00:09:55,986 --> 00:09:57,074
[chuckles]
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00:09:58,206 --> 00:10:02,036
I think it's being inspired
215
00:10:02,166 --> 00:10:04,386
by all the muses
that are available.
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00:10:04,516 --> 00:10:06,431
At the time,
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00:10:06,562 --> 00:10:08,433
there weren't very many bands
with girls in,
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00:10:08,564 --> 00:10:10,914
like Heart, or Fleetwood Mac,
219
00:10:11,045 --> 00:10:13,438
and, you know, Stevie,
we hung out with her a lot.
220
00:10:13,569 --> 00:10:15,136
We partied with her.
[laughs]
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00:10:15,266 --> 00:10:16,746
Maybe too much.
222
00:10:18,530 --> 00:10:20,184
[Sheila E]
Stevie is incredible.
223
00:10:20,315 --> 00:10:23,274
The dynamic of how she writes
224
00:10:23,405 --> 00:10:25,233
and what she thinks about,
225
00:10:25,363 --> 00:10:27,278
and her passion
for what she says,
226
00:10:27,409 --> 00:10:29,411
and who she is as an artist,
227
00:10:29,541 --> 00:10:31,631
to be true
to who she is as a woman.
228
00:10:31,761 --> 00:10:34,111
Some of the things
that she says and writes about
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00:10:34,242 --> 00:10:36,331
is pretty deep.
230
00:10:36,461 --> 00:10:37,462
Man, you must have been
in a place
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00:10:37,593 --> 00:10:38,638
to really write
something like this.
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00:10:38,768 --> 00:10:41,423
I guess, in a sense,
it's somewhat of a therapy.
233
00:10:41,553 --> 00:10:44,165
[Fleetwood Mac
performing "Dreams"]
234
00:10:44,295 --> 00:10:46,602
♪ It's only me
235
00:10:46,733 --> 00:10:52,086
♪ Who wants to wrap
around your dreams... ♪
236
00:10:52,216 --> 00:10:53,957
[Sheryl Crow]
Stevie Nicks, to me,
237
00:10:54,088 --> 00:10:55,393
she sort of encapsulated
238
00:10:55,524 --> 00:10:59,920
this ethereal, mystical being,
239
00:11:00,050 --> 00:11:01,443
and yet was writing
this incredible poetry,
240
00:11:01,573 --> 00:11:03,053
and rocking.
241
00:11:03,184 --> 00:11:06,143
She was this sort of
larger than life persona.
242
00:11:07,710 --> 00:11:09,669
Fleetwood Mac
is probably, like,
243
00:11:09,799 --> 00:11:12,410
within my top three
favorite bands ever of all time.
244
00:11:12,541 --> 00:11:13,890
I love Christine McVie as well.
245
00:11:14,021 --> 00:11:15,892
Like, I love Christine's songs,
246
00:11:16,023 --> 00:11:17,894
but Stevie
is one of those artists
247
00:11:18,025 --> 00:11:20,505
that has the invisible energy.
248
00:11:20,636 --> 00:11:22,594
It's just like she's a fucking
magical witch.
249
00:11:22,725 --> 00:11:25,510
Like, that's all
I can say about her,
250
00:11:25,641 --> 00:11:28,557
is she is an actual
magical gold dust woman.
251
00:11:28,688 --> 00:11:30,254
♪ ...thunder only happens
when it's raining ♪
252
00:11:32,517 --> 00:11:35,477
♪ Players only love you
when they're playing... ♪
253
00:11:35,607 --> 00:11:39,916
We had so much excitement
for their songs,
254
00:11:40,047 --> 00:11:42,919
and know them inside out,
255
00:11:43,050 --> 00:11:44,486
you know, and upside down.
256
00:11:44,616 --> 00:11:47,707
♪♪♪
257
00:11:47,837 --> 00:11:49,926
[Sheryl Crow]
The Wilson Sisters of Heart,
258
00:11:50,057 --> 00:11:51,885
they were women
who carved the way
259
00:11:52,015 --> 00:11:53,234
for a lot of us.
260
00:11:53,364 --> 00:11:55,453
You know,
they were great poets,
261
00:11:55,584 --> 00:11:56,672
and they were great performers.
262
00:11:56,803 --> 00:11:59,370
[Nona Hendryx]
Ann Wilson, Nancy Wilson,
263
00:11:59,501 --> 00:12:02,852
both women,
they are beacons in music
264
00:12:02,983 --> 00:12:05,333
and what you can do.
265
00:12:05,463 --> 00:12:07,248
I always saw them as two women
266
00:12:07,378 --> 00:12:09,685
who just would destroy a stage.
267
00:12:09,816 --> 00:12:12,209
[Sheryl Crow]
Nancy's a great musician.
268
00:12:12,340 --> 00:12:14,255
Only a few women
that I can think of
269
00:12:14,385 --> 00:12:15,735
when I was a kid coming up
270
00:12:15,865 --> 00:12:17,388
stood out in front
and played the guitar
271
00:12:17,519 --> 00:12:19,260
like one of the guys,
272
00:12:19,390 --> 00:12:21,828
and she was one of them.
273
00:12:22,829 --> 00:12:26,093
For us girls that were
wanting to be out front,
274
00:12:26,223 --> 00:12:27,485
and who wanted to rock,
275
00:12:27,616 --> 00:12:29,661
she was an illustration
of how to do that.
276
00:12:29,792 --> 00:12:31,011
How to be beautiful,
how to continue
277
00:12:31,141 --> 00:12:33,317
to maintain your femininity
278
00:12:33,448 --> 00:12:37,408
and who you are,
and yet, you know,
279
00:12:37,539 --> 00:12:40,455
rock 'n' roll
on an electric guitar.
280
00:12:42,544 --> 00:12:43,675
[Nancy Wilson] For me,
281
00:12:43,806 --> 00:12:46,591
the guitar
is kind of everything.
282
00:12:46,722 --> 00:12:49,943
I feel like I go through
an array of personalities
283
00:12:50,073 --> 00:12:51,422
during a song.
284
00:12:51,553 --> 00:12:53,076
I could happy-go-lucky,
285
00:12:53,207 --> 00:12:55,992
bounce around
like Paul McCartney over here,
286
00:12:56,123 --> 00:12:57,559
and then I could, like,
287
00:12:57,689 --> 00:13:01,998
dig in to the guitar
like Jimmy Page
288
00:13:02,129 --> 00:13:04,044
on this other song.
289
00:13:04,174 --> 00:13:06,481
I've never felt gender-specific
about playing,
290
00:13:06,611 --> 00:13:09,614
or being a rock person.
291
00:13:09,745 --> 00:13:14,619
I can be as strong as a male
with my playing,
292
00:13:14,750 --> 00:13:17,535
or as delicate
as someone like Joni.
293
00:13:17,666 --> 00:13:22,323
[Joni Mitchell playing guitar]
294
00:13:22,453 --> 00:13:26,283
Well, Joni Mitchell
is gifted beyond explanation.
295
00:13:27,894 --> 00:13:31,027
I was a Joni fan
from the very first Joni album
296
00:13:31,158 --> 00:13:32,159
when I was in high school.
297
00:13:36,206 --> 00:13:38,295
Her songs just
made me cry, you know.
298
00:13:39,688 --> 00:13:42,038
I was just like
[imitates sobbing], you know?
299
00:13:42,169 --> 00:13:44,301
That's just-- that's me.
300
00:13:44,432 --> 00:13:47,261
Joni made magic,
301
00:13:47,391 --> 00:13:49,176
magic places.
302
00:13:49,306 --> 00:13:50,394
I didn't have to leave
303
00:13:50,525 --> 00:13:53,093
to go to California.
304
00:13:53,223 --> 00:13:55,182
She took me to California.
305
00:13:55,312 --> 00:13:56,531
She took me everywhere,
306
00:13:56,661 --> 00:13:58,663
and it was lush and beautiful,
307
00:13:58,794 --> 00:14:02,189
and the chord structure
was like from angels.
308
00:14:02,319 --> 00:14:05,322
♪ Blue...
309
00:14:05,453 --> 00:14:07,934
[crowd applauding]
310
00:14:08,064 --> 00:14:09,979
[holding note]
311
00:14:14,592 --> 00:14:19,467
♪ Songs are like tattoos...
312
00:14:19,597 --> 00:14:21,034
Joni Mitchell was my queen.
313
00:14:21,164 --> 00:14:22,426
She wasn't loud,
314
00:14:22,557 --> 00:14:24,994
but her voice soared through.
315
00:14:26,691 --> 00:14:29,129
Every woman has
their revelation, you know,
316
00:14:29,259 --> 00:14:30,782
their epiphany
when they hear Blue.
317
00:14:30,913 --> 00:14:33,089
♪ ...or let me sail away...
318
00:14:33,220 --> 00:14:35,048
[Nancy Wilson]
I saw Joni Mitchell
319
00:14:35,178 --> 00:14:36,440
at the Paramount Theater
320
00:14:36,571 --> 00:14:38,442
doing the Bluetour.
321
00:14:38,573 --> 00:14:40,053
She did the dulcimer.
322
00:14:40,183 --> 00:14:41,054
She played the piano.
323
00:14:41,184 --> 00:14:42,794
She played acoustic.
324
00:14:42,925 --> 00:14:45,667
Just her, [chuckles],
only her,
325
00:14:45,797 --> 00:14:49,366
and it was just way beyond
anything I'd expected
326
00:14:49,497 --> 00:14:51,586
for a rock show to be like.
327
00:14:51,716 --> 00:14:57,374
♪ Here is a song from me
328
00:14:59,333 --> 00:15:00,508
[Joni Mitchell]
A woman came up to me in a bar
329
00:15:00,638 --> 00:15:02,205
and she said to me,
330
00:15:02,336 --> 00:15:04,164
"Before Prozac,
there was Joni Mitchell."
331
00:15:04,294 --> 00:15:05,426
[laughs]
332
00:15:05,556 --> 00:15:07,254
You know, so...
333
00:15:07,384 --> 00:15:08,733
because people generally
don't read that much
334
00:15:08,864 --> 00:15:10,170
in this culture,
335
00:15:10,300 --> 00:15:11,606
there was a lot
of self-exploration,
336
00:15:11,736 --> 00:15:14,522
and there were some truths
337
00:15:14,652 --> 00:15:16,132
that I discovered along the way.
338
00:15:16,263 --> 00:15:17,177
Wherever I could take it
339
00:15:17,307 --> 00:15:19,440
from my own personal travail
340
00:15:19,570 --> 00:15:20,745
to the universal,
341
00:15:20,876 --> 00:15:23,270
anything good that helped me,
342
00:15:23,400 --> 00:15:26,186
I would try to slot
into the song, you know,
343
00:15:26,316 --> 00:15:28,231
philisoph--
to give it some nutrition.
344
00:15:28,362 --> 00:15:30,625
♪♪♪
345
00:15:30,755 --> 00:15:34,150
[Aimee Mann] She had a really
sophisticated approach to music,
346
00:15:34,281 --> 00:15:37,501
and her lyrics
were really incredible.
347
00:15:37,632 --> 00:15:40,678
Now people realize
what a genius she was,
348
00:15:40,809 --> 00:15:42,637
and, you know, a real savant,
349
00:15:42,767 --> 00:15:45,683
an absolute creative genius.
350
00:15:46,946 --> 00:15:49,426
I remember there were times
when I was on a tour bus.
351
00:15:49,557 --> 00:15:53,430
The bus is roaring
through the night like a demon.
352
00:15:53,561 --> 00:15:55,519
I have all the windows open,
353
00:15:55,650 --> 00:15:57,434
Joni blasting
in the back of the bus.
354
00:15:57,565 --> 00:15:59,523
♪♪♪
355
00:15:59,654 --> 00:16:01,482
You know,
I'm pissed at the world,
356
00:16:01,612 --> 00:16:03,658
and I was, like,
thinking about doing
357
00:16:03,788 --> 00:16:05,312
terrible things
to myself,
358
00:16:05,442 --> 00:16:07,575
and then Joni saved me.
359
00:16:09,707 --> 00:16:11,796
Her lyrics would bring me
back to square one,
360
00:16:11,927 --> 00:16:14,495
because she talks about
everything so freely.
361
00:16:14,625 --> 00:16:16,888
Look, she's the first artist
that sent me to a dictionary.
362
00:16:17,019 --> 00:16:20,283
I had to look up words
in her lyrics.
363
00:16:20,414 --> 00:16:22,329
I love her for that,
364
00:16:22,459 --> 00:16:25,245
and we were friends
because we told the truth.
365
00:16:25,375 --> 00:16:26,159
[laughs]
366
00:16:26,289 --> 00:16:27,551
You know?
367
00:16:27,682 --> 00:16:29,945
I'm thankful for that.
368
00:16:30,076 --> 00:16:33,601
She's influenced me immensely
throughout my career.
369
00:16:34,819 --> 00:16:37,387
There were so few women
370
00:16:37,518 --> 00:16:40,695
who could break through
371
00:16:40,825 --> 00:16:44,438
the many cultural
and psychological barriers
372
00:16:44,568 --> 00:16:48,311
that keep us from
respecting women, you know.
373
00:16:48,442 --> 00:16:53,360
They were always incidental
to the real thing
374
00:16:53,490 --> 00:16:55,144
that was always men.
375
00:16:56,624 --> 00:16:57,973
[Natalie Merchant]
Women in the '70s
376
00:16:58,104 --> 00:17:00,802
started asserting
their power through music...
377
00:17:01,759 --> 00:17:04,501
and taking more control
over their careers,
378
00:17:04,632 --> 00:17:07,156
whether it was Joni Mitchell
or Patti Smith.
379
00:17:09,202 --> 00:17:11,682
And that's something that
so many women of my generation
380
00:17:11,813 --> 00:17:13,032
just grew up with,
381
00:17:13,162 --> 00:17:16,339
the privilege
of women's voices being heard,
382
00:17:16,470 --> 00:17:18,907
and the female perspective
being expressed,
383
00:17:19,038 --> 00:17:23,738
because we benefited
from that second-wave feminism,
384
00:17:23,868 --> 00:17:25,653
the women's liberation movement.
385
00:17:25,783 --> 00:17:27,698
[crowd shouting and chanting]
386
00:17:32,181 --> 00:17:33,922
[Shirley Chisholm]
You women better wake up
387
00:17:34,053 --> 00:17:35,750
if you want to help
to change America around.
388
00:17:35,880 --> 00:17:37,056
The only thing that you have
is your integrity,
389
00:17:37,186 --> 00:17:39,058
and the principles,
and the convictions
390
00:17:39,188 --> 00:17:41,103
of what we are fighting for
in America.
391
00:17:43,062 --> 00:17:46,500
The times reflected the music
that completely followed,
392
00:17:46,630 --> 00:17:49,068
you know,
the political landscape.
393
00:17:51,853 --> 00:17:53,550
[Ann Powers]
We have a new generation,
394
00:17:53,681 --> 00:17:54,769
a new wave.
395
00:17:54,899 --> 00:17:57,424
It made space for women
396
00:17:57,554 --> 00:18:00,079
to directly and overtly
challenge gender roles.
397
00:18:01,384 --> 00:18:02,211
No, thank you.
398
00:18:02,342 --> 00:18:02,951
[Ruth Bader Ginsberg]
Some fear
399
00:18:03,082 --> 00:18:03,995
the Equal Rights Amendment,
400
00:18:04,126 --> 00:18:06,955
because no one
can fully forecast
401
00:18:07,086 --> 00:18:09,479
the development
of constitutional principle.
402
00:18:09,610 --> 00:18:12,482
Fear must not deter us now,
403
00:18:12,613 --> 00:18:13,918
for the Equal Rights Amendment
404
00:18:14,049 --> 00:18:16,704
represents the highest
American ideal:
405
00:18:16,834 --> 00:18:20,447
recognition of the value
of each individual.
406
00:18:20,577 --> 00:18:23,014
Now, in the 1970s,
407
00:18:23,145 --> 00:18:26,757
each woman
as well as each man.
408
00:18:26,888 --> 00:18:28,411
[Holly George-Warren]
I think a lot of women
409
00:18:28,542 --> 00:18:30,283
who were true musicians
and true artists,
410
00:18:30,413 --> 00:18:32,459
also it liberated them
411
00:18:32,589 --> 00:18:35,114
to go out there and start bands,
and start writing songs,
412
00:18:35,244 --> 00:18:39,379
and, you know, you get
these incredible artists
413
00:18:39,509 --> 00:18:41,598
that came from this great wave.
414
00:18:41,729 --> 00:18:43,078
We're very privileged
415
00:18:43,209 --> 00:18:45,428
to have as our guest
on the show today,
416
00:18:45,559 --> 00:18:47,430
and we thank Gloria
and Ms.magazine
417
00:18:47,561 --> 00:18:48,823
for doing this
418
00:18:48,953 --> 00:18:51,739
to arrange for the appearance
of Carole King.
419
00:18:51,869 --> 00:18:54,350
Here is Carole.
It wasn't easy luring you
420
00:18:54,481 --> 00:18:55,264
from that ranch in Idaho.
421
00:18:55,395 --> 00:18:57,005
No. [laughs]
422
00:18:57,136 --> 00:18:59,486
It took something really special
like this, though,
423
00:18:59,616 --> 00:19:00,878
because when I first heard
424
00:19:01,009 --> 00:19:02,750
about the women that were
going to be on this show,
425
00:19:02,880 --> 00:19:04,534
all of them are women
426
00:19:04,665 --> 00:19:06,536
for whom I have
a great deal of respect
427
00:19:06,667 --> 00:19:09,757
because they're committed
to something they believe in,
428
00:19:09,887 --> 00:19:11,367
and have put themselves
out on the line,
429
00:19:11,498 --> 00:19:13,456
standing up,
voicing their opinions,
430
00:19:13,587 --> 00:19:18,069
and it hasn't always been easy,
I know that.
431
00:19:18,200 --> 00:19:19,680
But I really respect them
for that,
432
00:19:19,810 --> 00:19:20,942
and I wanted to be
in this company
433
00:19:21,072 --> 00:19:22,552
because I try to be that myself.
434
00:19:22,683 --> 00:19:25,381
♪♪♪
435
00:19:25,512 --> 00:19:27,035
♪ Looking out
436
00:19:27,166 --> 00:19:29,864
♪ On the morning rain...
437
00:19:32,040 --> 00:19:34,695
[Sheryl Crow] I think
my earliest influence
438
00:19:34,825 --> 00:19:36,000
is probably Carole King.
439
00:19:36,131 --> 00:19:38,264
When I was a really young girl,
440
00:19:38,394 --> 00:19:39,830
we had Tapestry,
441
00:19:39,961 --> 00:19:41,919
and I think
that was the first time
442
00:19:42,050 --> 00:19:43,704
I kind of found my identity.
443
00:19:45,836 --> 00:19:47,751
[Norah Jones] I got
really obsessed with Carole King
444
00:19:47,882 --> 00:19:49,971
and the Tapestryalbum.
445
00:19:50,101 --> 00:19:51,799
I mean, I had known
"Natural Woman"
446
00:19:51,929 --> 00:19:55,237
from my childhood
listening to Aretha,
447
00:19:55,368 --> 00:19:57,979
and so then when I found out
that she wrote that song,
448
00:19:58,109 --> 00:19:59,502
and she wrote
all these great songs,
449
00:19:59,633 --> 00:20:01,678
I was a fan.
450
00:20:01,809 --> 00:20:03,114
♪ You make me feel...
451
00:20:03,245 --> 00:20:05,900
Carole King, one of
the greatest songwriters ever,
452
00:20:06,030 --> 00:20:09,208
and a beautiful person.
453
00:20:09,338 --> 00:20:12,559
One of the greatest songwriters
I can think of.
454
00:20:12,689 --> 00:20:15,866
♪ ...natural woman
455
00:20:15,997 --> 00:20:21,872
♪ A natural woman
456
00:20:24,005 --> 00:20:25,702
[Sheryl Crow] I think one
of the things about Carole King
457
00:20:25,833 --> 00:20:27,443
that I love
is that you could feel
458
00:20:27,574 --> 00:20:28,879
her heart in these songs.
459
00:20:29,010 --> 00:20:31,621
She played the piano,
460
00:20:31,752 --> 00:20:36,539
and she wrote heartfelt songs,
but they were still edgy,
461
00:20:36,670 --> 00:20:38,062
and of the moment,
462
00:20:38,193 --> 00:20:40,500
songs that felt
very yearning to me,
463
00:20:40,630 --> 00:20:43,416
felt like she was able
to sort of capture
464
00:20:43,546 --> 00:20:45,026
what it felt like
to be a woman.
465
00:20:46,201 --> 00:20:48,856
You have
the singer-songwriter movement
466
00:20:48,986 --> 00:20:52,251
that was Carole King
and Joni Mitchell,
467
00:20:52,381 --> 00:20:55,036
among others,
but definitely leading the way.
468
00:20:55,166 --> 00:20:57,865
♪♪♪
469
00:20:57,995 --> 00:21:00,868
[Chaka Khan]
There was a time in music
470
00:21:00,998 --> 00:21:02,565
when there were
barely any women at all.
471
00:21:02,696 --> 00:21:05,742
Uh, Sly and the Family Stone
were out there.
472
00:21:05,873 --> 00:21:07,527
There were women
like Bonnie Raitt,
473
00:21:07,657 --> 00:21:09,050
who stood there
and played a guitar,
474
00:21:09,180 --> 00:21:12,227
and was a badass
and paved the way.
475
00:21:12,358 --> 00:21:16,492
It was these women that were
proving that idea wrong,
476
00:21:16,623 --> 00:21:19,103
that not just men
could play guitar.
477
00:21:19,234 --> 00:21:20,844
They were women
that gave me permission
478
00:21:20,975 --> 00:21:21,889
to do the same.
479
00:21:22,977 --> 00:21:24,544
[Susanna Hoffs] Joni,
480
00:21:24,674 --> 00:21:26,763
and Linda Ronstadt,
and Bonnie Raitt.
481
00:21:26,894 --> 00:21:30,680
I just basically learned
singing and playing guitar
482
00:21:30,811 --> 00:21:32,595
through playing those albums
over and over and over again
483
00:21:32,726 --> 00:21:34,728
to the point that it drove
my family crazy,
484
00:21:34,858 --> 00:21:36,077
but I didn't care,
485
00:21:36,207 --> 00:21:37,818
because it was
kind of like a drug.
486
00:21:37,948 --> 00:21:39,994
I was addicted to it.
487
00:21:40,124 --> 00:21:42,562
Women were mostly singers,
488
00:21:42,692 --> 00:21:45,086
but there had been
a marvelous group
489
00:21:45,216 --> 00:21:46,043
named Fanny.
490
00:21:46,174 --> 00:21:49,003
♪ Ooh, baby
491
00:21:49,133 --> 00:21:51,745
♪ I can make you come
492
00:21:52,702 --> 00:21:55,314
[Tina Weymouth] Fanny
was just really original,
493
00:21:55,444 --> 00:21:58,882
but they didn't have
a mainstream success.
494
00:21:59,970 --> 00:22:03,017
[Kate Pierson] They were
the first women band in the '70s
495
00:22:03,147 --> 00:22:03,713
that were...
played their own instruments,
496
00:22:03,844 --> 00:22:04,758
wrote their own songs.
497
00:22:04,888 --> 00:22:06,977
♪ Ooh, you're the one
498
00:22:07,108 --> 00:22:08,675
♪ Oh, yeah, babe
499
00:22:08,805 --> 00:22:10,459
♪ You're the one
500
00:22:10,590 --> 00:22:11,808
♪♪♪
501
00:22:18,032 --> 00:22:19,860
But even back in the punk days,
502
00:22:19,990 --> 00:22:20,904
there weren't a lot of women
503
00:22:21,035 --> 00:22:21,775
playing their own instruments.
504
00:22:21,905 --> 00:22:25,082
♪♪♪
505
00:22:25,213 --> 00:22:26,997
[Natalie Merchant] This idea
of women being part of the band
506
00:22:27,128 --> 00:22:28,956
with an instrument
507
00:22:29,086 --> 00:22:33,003
on equal footing
with the men in the band,
508
00:22:33,134 --> 00:22:34,744
that was Tina Weymouth,
509
00:22:34,875 --> 00:22:36,093
and that was really powerful.
510
00:22:42,012 --> 00:22:44,014
[Tina Weymouth]
19-early 70s,
511
00:22:44,145 --> 00:22:46,974
New York was broke,
512
00:22:47,104 --> 00:22:50,064
so we lived
in very poor circumstances
513
00:22:50,194 --> 00:22:53,067
in a loft on Christie Street.
514
00:22:53,197 --> 00:22:56,549
It was three and a half blocks
from CBGBs.
515
00:22:56,679 --> 00:22:58,333
I had a day job.
516
00:22:58,464 --> 00:23:02,119
I worked on 57th Street
at Henri Bendel.
517
00:23:02,250 --> 00:23:04,948
I walked down to 48th Street,
518
00:23:05,079 --> 00:23:07,386
put some money down
on a bass guitar,
519
00:23:07,516 --> 00:23:09,344
and I brought it home,
and I still have it,
520
00:23:09,475 --> 00:23:13,174
a wonderful
1963 Fender bass guitar.
521
00:23:13,304 --> 00:23:16,177
♪♪♪
522
00:23:16,307 --> 00:23:18,875
I was with Chris Frantz,
who played drums,
523
00:23:19,006 --> 00:23:20,181
and David Byrne,
524
00:23:20,311 --> 00:23:23,053
who played guitar,
and sang a little.
525
00:23:23,184 --> 00:23:26,492
We had a great time
just developing.
526
00:23:28,145 --> 00:23:30,757
Our whole band
was learning together.
527
00:23:30,887 --> 00:23:33,063
We would rehearse
528
00:23:33,194 --> 00:23:34,891
every single day,
529
00:23:35,022 --> 00:23:37,067
seven days a week,
530
00:23:37,198 --> 00:23:40,941
and within
five and a half months
531
00:23:41,071 --> 00:23:42,812
of me getting that guitar,
532
00:23:42,943 --> 00:23:44,858
we were playing at CBGBs.
533
00:23:48,383 --> 00:23:50,646
CBGBs was this
wonderful place to hang out
534
00:23:50,777 --> 00:23:52,735
and watch Television,
535
00:23:52,866 --> 00:23:54,215
Patti Smith,
536
00:23:54,345 --> 00:23:55,956
Blondie.
537
00:23:57,000 --> 00:24:00,134
It was a really
interesting time in the '70s,
538
00:24:00,264 --> 00:24:03,180
because the big rock gods,
you know,
539
00:24:03,311 --> 00:24:06,401
Zeppelin, and The Who,
and the Rolling Stones touring,
540
00:24:06,532 --> 00:24:08,708
there was suddenly like
an underground punk scene,
541
00:24:08,838 --> 00:24:11,754
and it was Television,
and Blondie, and Patti.
542
00:24:11,885 --> 00:24:13,713
♪♪♪
543
00:24:13,843 --> 00:24:15,236
[Holly George-Warren]
Patti Smith,
544
00:24:15,366 --> 00:24:19,109
I had never seen anyone
like that before on stage, ever.
545
00:24:19,240 --> 00:24:21,851
She was so androgynous.
546
00:24:21,982 --> 00:24:23,679
She was a whirling dervish.
547
00:24:23,810 --> 00:24:25,681
She was a poet.
548
00:24:25,812 --> 00:24:27,596
She was rock incarnate.
549
00:24:28,510 --> 00:24:30,077
[Joan Jett] Patti Smith
is considered
550
00:24:30,207 --> 00:24:32,775
that sort of subculture,
551
00:24:32,906 --> 00:24:36,649
but she was a little bit
different kind of music to me.
552
00:24:36,779 --> 00:24:39,260
It was more cerebral.
553
00:24:39,390 --> 00:24:41,175
Yeah, there was something
I could relate to in it.
554
00:24:41,305 --> 00:24:44,526
The androgyny of it
I could really relate to.
555
00:24:44,657 --> 00:24:48,095
[Ann Powers] She wasn't
conforming to anybody's idea
556
00:24:48,225 --> 00:24:51,011
of a feminine ideal.
557
00:24:51,141 --> 00:24:54,536
She went beyond gender.
558
00:24:54,667 --> 00:24:57,321
She went right through it,
and changed everything.
559
00:24:57,452 --> 00:25:01,282
♪ Come on, now
Try and understand ♪
560
00:25:01,412 --> 00:25:03,937
♪ The way I feel
when I'm in your hands ♪
561
00:25:04,067 --> 00:25:05,329
[Debora Iyall]
Listening to Patti Smith,
562
00:25:05,460 --> 00:25:07,114
live especially,
563
00:25:07,244 --> 00:25:09,464
made that poetry,
564
00:25:09,595 --> 00:25:13,337
and that part of me
that was just loving words,
565
00:25:13,468 --> 00:25:15,992
and it was very transporting,
566
00:25:16,123 --> 00:25:17,820
transcendental.
567
00:25:17,951 --> 00:25:21,781
♪ Because the night
belongs to love ♪
568
00:25:21,911 --> 00:25:25,262
♪ Because the night
belongs to lovers ♪
569
00:25:25,393 --> 00:25:26,699
♪ Because the night...
570
00:25:26,829 --> 00:25:28,222
Patti Smith, just--
571
00:25:28,352 --> 00:25:33,183
she is like a sorceress
when she performs.
572
00:25:33,314 --> 00:25:35,359
Oh, my God, it was just
so mind-blowing.
573
00:25:35,490 --> 00:25:37,318
We went backstage,
and she was still on.
574
00:25:37,448 --> 00:25:40,190
She was still, like,
doing poetry.
575
00:25:41,931 --> 00:25:44,412
Patti Smith
threw up on me one night
576
00:25:44,543 --> 00:25:46,675
in the back room at CBGBs.
577
00:25:48,459 --> 00:25:50,766
That's my fondest memory
of Patti.
578
00:25:50,897 --> 00:25:53,160
She was just in the doorway,
and she saw me,
579
00:25:53,290 --> 00:25:54,857
and there was nobody else
in the room
580
00:25:54,988 --> 00:25:56,337
she recognized, I guess,
581
00:25:56,467 --> 00:26:00,254
and she came over to me
and went, "Wayne! Argh!"
582
00:26:00,384 --> 00:26:03,257
and just threw up all over me,
583
00:26:03,387 --> 00:26:06,956
and I am so sorry
584
00:26:07,087 --> 00:26:10,090
that I threw away her puke,
585
00:26:10,220 --> 00:26:14,137
because I could have kept
those puke-stained clothes,
586
00:26:14,268 --> 00:26:17,140
and they could have been put
in some kind of Hall of Fame.
587
00:26:17,271 --> 00:26:19,142
"Clothes
Patti Smith puked on."
588
00:26:21,318 --> 00:26:22,232
[Aimee Mann]
That was still the time
589
00:26:22,363 --> 00:26:24,408
where kind of as a woman,
590
00:26:24,539 --> 00:26:26,976
you were expected
to be ladylike,
591
00:26:27,107 --> 00:26:29,326
and so she just really had,
592
00:26:29,457 --> 00:26:32,025
like, a straight-out
kind of rock presence
593
00:26:32,155 --> 00:26:34,593
that was very androgynous,
594
00:26:34,723 --> 00:26:37,770
and that was very appealing
to, like, you know,
595
00:26:37,900 --> 00:26:38,901
"Oh, here's somebody
who is not
596
00:26:39,032 --> 00:26:41,077
in the same box
as everybody else."
597
00:26:42,122 --> 00:26:43,210
[Kate Pierson] You know,
598
00:26:43,340 --> 00:26:45,212
we thought Patti
was the punk priestess,
599
00:26:45,342 --> 00:26:46,343
and Debbie,
600
00:26:46,474 --> 00:26:49,129
she's just, like, so beautiful,
601
00:26:49,259 --> 00:26:50,609
so she was the punk princess,
602
00:26:51,784 --> 00:26:52,959
'Cause she added
this glamour to punk.
603
00:26:53,089 --> 00:26:54,090
♪♪♪
604
00:26:54,221 --> 00:26:57,224
♪ Face to face
605
00:26:57,354 --> 00:27:00,488
♪ Sadly solitude
606
00:27:00,619 --> 00:27:02,403
[Aimee Mann]
Blondie was one of those bands
607
00:27:02,533 --> 00:27:03,926
that I first
started listening to
608
00:27:04,057 --> 00:27:06,842
when I was first discovering
punk and New Wave.
609
00:27:06,973 --> 00:27:11,368
Deborah Harry had a real
"fuck you" confidence
610
00:27:11,499 --> 00:27:12,848
that I was very inspired by.
611
00:27:12,979 --> 00:27:15,503
♪ Rapture
612
00:27:15,634 --> 00:27:18,071
[St. Vincent] Blondie is that,
like, perfect example
613
00:27:18,201 --> 00:27:22,162
that I truly don't think
has come around again.
614
00:27:22,292 --> 00:27:23,380
As far as I'm concerned, like,
615
00:27:23,511 --> 00:27:26,557
Debbie Harry invented cool.
616
00:27:26,688 --> 00:27:29,169
♪ Go out to the parking lot
617
00:27:29,299 --> 00:27:32,346
She had that very unique look
618
00:27:32,476 --> 00:27:33,434
that matched the vocal,
619
00:27:33,564 --> 00:27:35,523
kind of quirky,
kind of offbeat.
620
00:27:35,654 --> 00:27:36,872
♪ And you don't stop
621
00:27:37,003 --> 00:27:39,483
♪ You keep on eating cars
622
00:27:39,614 --> 00:27:41,268
♪ Then when there's
no more cars ♪
623
00:27:41,398 --> 00:27:42,312
[Ann Powers]
Debbie Harry of Blondie,
624
00:27:42,443 --> 00:27:44,663
such a revolutionary,
625
00:27:44,793 --> 00:27:47,274
completely playing
the beauty queen to the hilt,
626
00:27:47,404 --> 00:27:50,538
and then ripping her dress,
ripping her stockings,
627
00:27:50,669 --> 00:27:52,540
ripping
that whole image apart.
628
00:27:52,671 --> 00:27:54,585
[Joan Jett] I was lucky enough
629
00:27:54,716 --> 00:27:56,370
to be good friends
with the band,
630
00:27:56,500 --> 00:27:58,241
and they would come to L.A.,
631
00:27:58,372 --> 00:27:59,982
and they'd stay for a while.
632
00:28:00,113 --> 00:28:01,941
They'd stay for
a couple of weeks or a month,
633
00:28:02,071 --> 00:28:03,725
and so we'd get
to really hang out.
634
00:28:04,987 --> 00:28:06,075
Debbie Harry,
635
00:28:06,206 --> 00:28:08,251
she had been
doing it longer than I had,
636
00:28:08,382 --> 00:28:09,296
and it was just, like,
637
00:28:09,426 --> 00:28:11,515
I looked up to her in that way
638
00:28:11,646 --> 00:28:14,083
that you could talk about
what you go through.
639
00:28:14,214 --> 00:28:15,432
♪♪♪
640
00:28:15,563 --> 00:28:16,999
[Jayne County]
I mean, Blondie, I think
641
00:28:17,130 --> 00:28:19,523
out of all the New York bands,
Blondie made it
642
00:28:19,654 --> 00:28:21,221
the most commercial
of any of them.
643
00:28:21,351 --> 00:28:22,570
From Blondie,
would you welcome
644
00:28:22,701 --> 00:28:24,267
Debbie Harry and Chris Stein.
645
00:28:24,398 --> 00:28:26,922
[audience applauding]
646
00:28:27,053 --> 00:28:29,229
But your hits, Debbie,
647
00:28:29,359 --> 00:28:33,363
seem to give permission
for all girls to have hits.
648
00:28:33,494 --> 00:28:35,365
You must have had
a struggle to get going.
649
00:28:35,496 --> 00:28:37,324
Well, yeah, of course,
650
00:28:37,454 --> 00:28:38,673
you know,
it's always a struggle.
651
00:28:38,804 --> 00:28:40,153
- [Merv Griffin] Yeah.
- It was also
652
00:28:40,283 --> 00:28:41,545
a timely thing for me, too,
653
00:28:41,676 --> 00:28:45,114
because with
all the sort of acceptance,
654
00:28:45,245 --> 00:28:47,160
and, you know, sort of the ERA,
655
00:28:47,290 --> 00:28:49,031
and all those things
were sort of happening at once,
656
00:28:49,162 --> 00:28:51,468
and I was just doing it
simultaneously,
657
00:28:51,599 --> 00:28:53,775
so I guess it's very logical.
658
00:28:56,256 --> 00:28:58,171
[Kate Pierson]
During that time, you know,
659
00:28:58,301 --> 00:29:00,086
all other bands were
going to see other bands,
660
00:29:00,216 --> 00:29:04,351
so Talking Heads and Blondie
came to see us,
661
00:29:04,481 --> 00:29:07,571
and then we got to see
Patti Smith.
662
00:29:07,702 --> 00:29:10,705
Talking Heads is not
that much like Television,
663
00:29:10,836 --> 00:29:13,229
and Television isn't
that much like Patti Smith,
664
00:29:13,360 --> 00:29:16,493
or Siouxsie and the Banshees,
or The Pretenders.
665
00:29:18,278 --> 00:29:19,540
[Macy Gray]
I remember The Pretenders.
666
00:29:19,670 --> 00:29:22,064
I remember I was
a big Chrissie Hynde fan,
667
00:29:22,195 --> 00:29:24,240
because she was like
Billie Holiday,
668
00:29:24,371 --> 00:29:27,156
like, she didn't have this big,
you know, church voice,
669
00:29:27,287 --> 00:29:29,289
but she had a style, you know,
670
00:29:29,419 --> 00:29:31,073
that was super cool.
671
00:29:31,204 --> 00:29:33,423
And I could always understand
what she was saying.
672
00:29:35,251 --> 00:29:36,078
[Ann Powers] Chrissie Hynde,
673
00:29:36,209 --> 00:29:37,079
I remember very well
674
00:29:37,210 --> 00:29:38,646
when I saw the cover
675
00:29:38,777 --> 00:29:40,779
of the first Pretenders album,
676
00:29:40,909 --> 00:29:45,522
and here was this woman
in girl-group eyeliner,
677
00:29:45,653 --> 00:29:48,482
and a rock 'n' roll
rooster haircut
678
00:29:48,612 --> 00:29:50,440
like the guys
in the Stones had,
679
00:29:50,571 --> 00:29:52,138
wearing a leather jacket,
680
00:29:52,268 --> 00:29:54,357
and just looking so tough,
681
00:29:54,488 --> 00:29:56,272
and then I heard her voice,
682
00:29:56,403 --> 00:29:57,926
and the tenderness,
683
00:29:58,057 --> 00:29:59,667
the compassion,
684
00:29:59,798 --> 00:30:01,756
the vulnerability in that voice
685
00:30:01,887 --> 00:30:04,977
that then would switch over
to absolute ballsiness,
686
00:30:05,107 --> 00:30:07,066
but that's Chrissie, you know.
687
00:30:07,196 --> 00:30:09,198
Chrissie
was everything at once.
688
00:30:10,069 --> 00:30:11,418
[Kate Pierson]
Everyone was unique,
689
00:30:11,548 --> 00:30:13,333
that's what was great
about that scene.
690
00:30:15,204 --> 00:30:16,727
[Tina Weymouth]
It was a fabulous thing for us
691
00:30:16,858 --> 00:30:19,426
to open up this whole new
little culture...
692
00:30:21,558 --> 00:30:23,299
this diverse mix
693
00:30:23,430 --> 00:30:26,041
of women working with men.
694
00:30:26,172 --> 00:30:28,435
It was good and positive,
695
00:30:28,565 --> 00:30:30,698
not just for music
and the arts,
696
00:30:30,829 --> 00:30:32,656
but it was good for everybody.
697
00:30:32,787 --> 00:30:37,226
[The B-52s performing intro
to "Rock Lobster"]
698
00:30:37,357 --> 00:30:39,576
♪ Bah-loo-bah-lah
699
00:30:39,707 --> 00:30:40,490
Aah!
700
00:30:40,621 --> 00:30:42,144
♪ Bah-loo-bah-lah
701
00:30:42,275 --> 00:30:43,232
♪ Aah!
702
00:30:43,363 --> 00:30:45,017
♪ We were at a party
703
00:30:45,147 --> 00:30:46,018
♪ Aah!
704
00:30:46,148 --> 00:30:47,280
♪ His earlobe fell in the deep
705
00:30:47,410 --> 00:30:48,847
♪ Aah!
706
00:30:48,977 --> 00:30:50,326
♪ Someone reached in
and grabbed it ♪
707
00:30:50,457 --> 00:30:51,588
♪ Aah!
708
00:30:51,719 --> 00:30:53,547
♪ It was a rock lobster
709
00:30:53,677 --> 00:30:58,682
♪ Ah, ah, ah, ah!
710
00:30:58,813 --> 00:31:00,554
♪ Rock lobster!
711
00:31:00,684 --> 00:31:02,251
♪ Ah, ah, ah, ah!
712
00:31:02,382 --> 00:31:04,079
[Tina Weymouth] I loved it
that Kate could just sing,
713
00:31:04,210 --> 00:31:07,387
and create
these amazingly wonderful
714
00:31:07,517 --> 00:31:08,518
driving bass riffs
715
00:31:08,649 --> 00:31:10,520
all on a keyboard,
716
00:31:10,651 --> 00:31:13,175
and all while dancing
717
00:31:13,306 --> 00:31:16,352
with hair piled up to here.
718
00:31:16,483 --> 00:31:18,180
It was so brilliant.
719
00:31:18,311 --> 00:31:22,271
♪♪♪
720
00:31:22,402 --> 00:31:24,883
Our image is something
people talk about all the time,
721
00:31:25,013 --> 00:31:26,623
like, "How did you get your
image? Who does your look?"
722
00:31:26,754 --> 00:31:29,975
and it's formed
in a natural way.
723
00:31:30,105 --> 00:31:32,455
♪♪♪
724
00:31:32,586 --> 00:31:35,415
We just went to thrift stores
and found crazy stuff,
725
00:31:35,545 --> 00:31:39,680
but we were very influenced
by Fellini movies,
726
00:31:39,810 --> 00:31:41,595
and we had these
old Voguemagazines,
727
00:31:41,725 --> 00:31:43,292
and they were so surreal,
728
00:31:43,423 --> 00:31:45,164
like, the fashion was so...
729
00:31:45,294 --> 00:31:49,081
really, just
bold and out there.
730
00:31:50,430 --> 00:31:51,910
That image,
731
00:31:52,040 --> 00:31:54,869
we kind of wanted to turn it
on its wig head in a way,
732
00:31:55,000 --> 00:31:58,568
you know, just kind of reveal
the artifice of it all.
733
00:31:58,699 --> 00:32:00,744
Like the Fellini,
it's just so over-the-top
734
00:32:00,875 --> 00:32:03,834
that it's kind of not sexy,
735
00:32:03,965 --> 00:32:06,489
but we didn't really
try to be--
736
00:32:06,620 --> 00:32:08,709
look punk, particularly.
737
00:32:08,839 --> 00:32:10,319
We just sort of
formed this look
738
00:32:10,450 --> 00:32:12,278
by grabbing stuff
in the thrift store
739
00:32:12,408 --> 00:32:13,279
and putting it together.
740
00:32:13,409 --> 00:32:15,063
It was not a glamour thing
at all.
741
00:32:16,499 --> 00:32:18,197
The women of punk,
742
00:32:18,327 --> 00:32:20,503
they all had
a real impact on me.
743
00:32:20,634 --> 00:32:22,244
It was such a great scene
744
00:32:22,375 --> 00:32:26,292
to see women
unleashing this power.
745
00:32:27,119 --> 00:32:30,296
Now you had
someone like Poly Styrene
746
00:32:30,426 --> 00:32:31,558
of X-ray Spex, you know,
747
00:32:31,688 --> 00:32:34,343
who's saying,
"I am not an object.
748
00:32:34,474 --> 00:32:35,475
You cannot reduce me,"
749
00:32:37,477 --> 00:32:39,435
And that to me
was the glory of punk.
750
00:32:39,566 --> 00:32:41,263
[playing note on saxophone]
751
00:32:41,394 --> 00:32:44,136
The X-Ray Spex played
a very important part
752
00:32:44,266 --> 00:32:47,226
in the UK punk scene.
753
00:32:47,356 --> 00:32:50,794
[Joan Jett] Oh, my God,
Poly Styrene, X-Ray Spex,
754
00:32:50,925 --> 00:32:54,189
they were definitely
really aggressive, you know.
755
00:32:54,320 --> 00:32:57,410
They were taking it
in a political direction,
756
00:32:57,540 --> 00:32:59,064
and I really appreciated that.
757
00:33:00,717 --> 00:33:03,329
[Debora Iyall]
Poly Styrene was amazing.
758
00:33:03,459 --> 00:33:05,984
I remember just staring at
the test tubes on their records,
759
00:33:06,114 --> 00:33:08,987
with their outfits,
very sort of '60s mod,
760
00:33:09,117 --> 00:33:12,338
you know, fashion,
and yet her voice was piercing,
761
00:33:12,468 --> 00:33:14,949
and strong, and angry,
762
00:33:15,080 --> 00:33:17,604
and the message,
"Oh Bondage! Up Yours!"
763
00:33:17,734 --> 00:33:19,998
Oh, I needed to hear that.
764
00:33:20,128 --> 00:33:25,307
[flatly] Little girls
should be seen and not heard.
765
00:33:25,438 --> 00:33:26,787
[screams] Oh, Bondage!
766
00:33:26,917 --> 00:33:28,354
Up yours!
767
00:33:28,484 --> 00:33:29,616
One, two, three, four!
768
00:33:29,746 --> 00:33:31,400
♪♪♪
769
00:33:31,531 --> 00:33:33,489
The fact that Poly Styrene
was biracial,
770
00:33:33,620 --> 00:33:36,362
in punk in the '70s,
771
00:33:36,492 --> 00:33:41,584
Poly Styrene has been
kind of like this patron saint
772
00:33:41,715 --> 00:33:44,848
for a lot of women of color
in punk.
773
00:33:44,979 --> 00:33:46,807
[Kathleen Hanna] Poly Styrene,
she was doing,
774
00:33:46,937 --> 00:33:50,419
like, feminist
anti-capitalism in punk
775
00:33:50,550 --> 00:33:54,684
in such an interesting,
funny, nuanced way
776
00:33:54,815 --> 00:33:57,818
before anyone, really.
777
00:33:57,948 --> 00:33:59,689
♪♪♪
778
00:34:00,864 --> 00:34:03,041
[Poly Styrene]
Things I write most about
779
00:34:03,171 --> 00:34:05,695
are plastic things
and artificial things.
780
00:34:05,826 --> 00:34:07,610
You could say that
they're social comments,
781
00:34:07,741 --> 00:34:08,742
but they're slightly different
782
00:34:08,872 --> 00:34:11,136
to what anybody else is writing.
783
00:34:11,266 --> 00:34:12,398
♪♪♪
784
00:34:12,528 --> 00:34:13,747
[Alice Bag]
When punk came around,
785
00:34:13,877 --> 00:34:16,010
it was like somebody
just decided
786
00:34:16,141 --> 00:34:17,533
they were going
to strip it all down,
787
00:34:17,664 --> 00:34:20,928
and it was all about
the energy, the message,
788
00:34:21,059 --> 00:34:23,104
the connection to the audience.
789
00:34:24,410 --> 00:34:25,933
[Susanna Hoffs] You didn't
even need a record company.
790
00:34:26,064 --> 00:34:28,414
You didn't even need anything
791
00:34:28,544 --> 00:34:31,025
but the passion,
792
00:34:31,156 --> 00:34:32,896
and the commitment,
and the drive,
793
00:34:33,027 --> 00:34:36,509
and the vision
of what you wanted to say.
794
00:34:36,639 --> 00:34:38,337
It was kind of idea-based.
795
00:34:39,947 --> 00:34:43,211
I felt like the punk community
was very open to everybody.
796
00:34:45,213 --> 00:34:47,563
I realized I can redefine
what it means to be a Chicana.
797
00:34:47,694 --> 00:34:49,043
I can be a Chicana punk.
798
00:34:49,174 --> 00:34:52,264
You didn't have to wait
for anybody to lead.
799
00:34:52,394 --> 00:34:53,700
You could lead,
800
00:34:53,830 --> 00:34:57,225
and there were women doing
every possible role.
801
00:34:57,356 --> 00:34:58,748
Like, "Yeah!
802
00:34:58,879 --> 00:34:59,880
Listen to me,
have something to say."
803
00:35:02,012 --> 00:35:03,884
[Kira Roessler]
It was very underground,
804
00:35:04,014 --> 00:35:05,842
and anything that's underground
805
00:35:05,973 --> 00:35:10,369
sort of is rebelling against,
you know, these structures.
806
00:35:10,499 --> 00:35:11,979
[Alice Bag]
If you didn't come in
807
00:35:12,110 --> 00:35:13,763
with the attitude of, like,
808
00:35:13,894 --> 00:35:16,592
"I'm a trained musician,
and you're not,"
809
00:35:16,723 --> 00:35:20,770
or you didn't try to, like,
dictate what we should be doing,
810
00:35:20,901 --> 00:35:22,729
then you were going
to be accepted,
811
00:35:22,859 --> 00:35:24,774
especially if you were
pushing the boundaries.
812
00:35:25,819 --> 00:35:27,386
[crowd applauds]
813
00:35:28,648 --> 00:35:31,738
I did decide
to try to have my own band,
814
00:35:31,868 --> 00:35:34,523
so I started
practicing bass guitar.
815
00:35:34,654 --> 00:35:36,569
There were several
female bass players--
816
00:35:36,699 --> 00:35:38,962
Alley Cats, Eyes--
817
00:35:39,093 --> 00:35:42,401
so you would see these girls
actually doing it,
818
00:35:42,531 --> 00:35:43,880
and it seemed like
in early punk rock,
819
00:35:44,011 --> 00:35:46,405
there just wasn't
the reaction to the women.
820
00:35:46,535 --> 00:35:47,797
There wasn't one.
821
00:35:47,928 --> 00:35:50,583
It was not like, "Wow,
that girl can play bass."
822
00:35:50,713 --> 00:35:51,888
It was just like,
"Oh, I like that band,"
823
00:35:52,019 --> 00:35:53,151
or, "I don't like that band."
824
00:35:54,543 --> 00:35:55,892
Black Flag
had many incarnations.
825
00:35:56,023 --> 00:36:00,158
They started very early,
and so we all knew each other,
826
00:36:00,288 --> 00:36:02,986
and so Henry Rollins
calls me, and he says,
827
00:36:03,117 --> 00:36:05,380
"Do you want to play
with Black Flag?
828
00:36:05,511 --> 00:36:06,816
You should jam
with Bill and Greg."
829
00:36:06,947 --> 00:36:08,818
So we jammed,
830
00:36:08,949 --> 00:36:11,125
and at the end of that jam,
they said,
831
00:36:11,256 --> 00:36:13,562
"Do you want to play
in Black Flag?"
832
00:36:13,693 --> 00:36:16,435
and I just joined
my favorite band, literally.
833
00:36:16,565 --> 00:36:19,916
They taught me a level
of commitment and effort
834
00:36:20,047 --> 00:36:22,136
that was going to be, you know,
835
00:36:22,267 --> 00:36:26,532
more than you can
physically do every day,
836
00:36:26,662 --> 00:36:27,924
and it's going to, like,
837
00:36:28,055 --> 00:36:31,363
literally pull
your whole soul along.
838
00:36:31,493 --> 00:36:32,755
There's no downtime.
839
00:36:32,886 --> 00:36:35,193
There's no, you know, vacation.
840
00:36:35,323 --> 00:36:38,761
We slept on people's floors,
or in the van.
841
00:36:38,892 --> 00:36:41,155
There was no hotels
on tour, ever.
842
00:36:41,286 --> 00:36:43,723
After I was sure
we were done playing,
843
00:36:43,853 --> 00:36:46,943
I would often have to ice
my hand in the ice bucket,
844
00:36:47,074 --> 00:36:47,857
and you'd often see, you know,
845
00:36:47,988 --> 00:36:50,599
I'm just in pain,
846
00:36:50,730 --> 00:36:52,601
and that's part of this idea
847
00:36:52,732 --> 00:36:54,560
of having to give up everything.
848
00:36:54,690 --> 00:36:56,083
All I do is Black Flag,
849
00:36:56,214 --> 00:36:57,824
because that's all you can do
850
00:36:57,954 --> 00:36:59,565
when you're in Black Flag.
851
00:36:59,695 --> 00:37:01,741
What Black Flag wants to do
852
00:37:01,871 --> 00:37:03,525
is we're just going to
shove you up against the wall
853
00:37:03,656 --> 00:37:05,832
with the music,
854
00:37:05,962 --> 00:37:08,704
so I feel invincible
during the show.
855
00:37:08,835 --> 00:37:09,836
Like, during the show,
856
00:37:09,966 --> 00:37:11,838
we're just going, "Argh!"
to you.
857
00:37:12,926 --> 00:37:17,626
The music is insanely, you know,
loud, and big, and strong.
858
00:37:17,757 --> 00:37:20,890
Nothing can take us
during that time.
859
00:37:22,065 --> 00:37:24,242
The great thing about
being on stage
860
00:37:24,372 --> 00:37:28,724
is the feeling that you have
really lost yourself,
861
00:37:28,855 --> 00:37:32,119
and that it doesn't matter.
862
00:37:32,250 --> 00:37:35,122
You know, that you're just
completely confident,
863
00:37:35,253 --> 00:37:37,516
and you can feel
you're being held
864
00:37:37,646 --> 00:37:41,346
by the audience
that's listening to you.
865
00:37:42,477 --> 00:37:44,610
[Kira Roessler] Music before,
the women were pretty,
866
00:37:44,740 --> 00:37:46,220
and they sang pretty,
867
00:37:46,351 --> 00:37:49,223
and so the girls
that were very girly-girl
868
00:37:49,354 --> 00:37:51,138
were very hard for me
to identify with.
869
00:37:51,269 --> 00:37:54,533
In music, you didn't see
that many tough girls,
870
00:37:54,663 --> 00:37:56,622
and when you started
to see that,
871
00:37:56,752 --> 00:37:59,102
someone like Suzi Quatro
or Joan Jett, and these people
872
00:37:59,233 --> 00:38:02,715
who are, you know, encompassing
a different kind of woman,
873
00:38:02,845 --> 00:38:04,978
I think that's when
it connected to me.
874
00:38:07,241 --> 00:38:09,243
Well, I got an electric guitar
for Christmas.
875
00:38:09,374 --> 00:38:11,724
I asked my parents
for a guitar for Christmas,
876
00:38:11,854 --> 00:38:14,335
and they got it for me.
They actually got it for me.
877
00:38:14,466 --> 00:38:17,643
I just remember making
a lot of noise the first day,
878
00:38:17,773 --> 00:38:19,122
bending the E-string--
879
00:38:19,253 --> 00:38:22,996
"Arr! Arr! Arr!"
driving my father crazy.
880
00:38:23,126 --> 00:38:25,215
I had a guitar teacher,
881
00:38:25,346 --> 00:38:29,132
and I was this exuberant
13-year old,
882
00:38:29,263 --> 00:38:30,830
going, "Teach me
how to play rock 'n' roll!
883
00:38:30,960 --> 00:38:32,875
Teach me how to play
rock 'n' roll, like, now!"
884
00:38:33,006 --> 00:38:35,225
And then he said,
885
00:38:35,356 --> 00:38:37,271
"Girls don't play
rock 'n' roll,"
886
00:38:37,402 --> 00:38:39,926
and then tried to teach me
"On Top of Old Smokey."
887
00:38:40,056 --> 00:38:41,797
Now, all these years later,
888
00:38:41,928 --> 00:38:44,147
I'm hoping he meant,
"You need to learn the basics,"
889
00:38:44,278 --> 00:38:46,889
but that wasn't
what I wanted to hear.
890
00:38:47,020 --> 00:38:49,805
I wanted to be holding
a guitar,
891
00:38:49,936 --> 00:38:52,634
and owning it
the way the Rolling Stones do,
892
00:38:52,765 --> 00:38:54,854
and Mick Jagger sitting
on the big inflated dick.
893
00:38:56,203 --> 00:38:58,031
Then I thought,
894
00:38:58,161 --> 00:39:01,077
"Well, there's got to be
other girls in L.A.
895
00:39:01,208 --> 00:39:03,558
that, you know, think like me,
896
00:39:03,689 --> 00:39:05,691
and want to play rock 'n' roll.
897
00:39:05,821 --> 00:39:07,736
I can't be the only one."
898
00:39:07,867 --> 00:39:11,044
So I started going
to this club,
899
00:39:11,174 --> 00:39:12,785
Rodney's English Disco,
900
00:39:12,915 --> 00:39:15,396
and it was a place
901
00:39:15,527 --> 00:39:18,225
where they played all, like,
the English glitter-glam music
902
00:39:18,356 --> 00:39:20,183
that American kids never heard.
903
00:39:20,314 --> 00:39:24,927
So, yeah, I started to find
like-minded people,
904
00:39:25,058 --> 00:39:28,583
and eventually I met Sandy West,
905
00:39:28,714 --> 00:39:30,672
who was our--
The Runaways' drummer.
906
00:39:30,803 --> 00:39:33,806
I was 16 at that time,
907
00:39:33,936 --> 00:39:35,677
and Sandy was 15,
908
00:39:35,808 --> 00:39:37,157
but we hit it off.
909
00:39:37,287 --> 00:39:40,203
I took four buses
to her house.
910
00:39:40,334 --> 00:39:43,250
I set up in her rec room
with her drums,
911
00:39:43,381 --> 00:39:45,644
and we were deadly serious.
912
00:39:45,774 --> 00:39:48,777
[The Runaways
performing "Cherry Bomb"]
913
00:39:48,908 --> 00:39:50,866
♪♪♪
914
00:39:50,997 --> 00:39:51,998
♪ Can't stay at home
Can't stay at school ♪
915
00:39:52,128 --> 00:39:53,956
[Fefe Dobson]
I love Joan Jett.
916
00:39:54,087 --> 00:39:55,262
She's just so ballsy.
917
00:39:55,393 --> 00:39:57,438
It's kind of like that energy
918
00:39:57,569 --> 00:40:01,094
where you just want to jump
on a table and get crazy.
919
00:40:01,224 --> 00:40:04,358
♪ I'm the fox
you've been waiting for! ♪
920
00:40:04,489 --> 00:40:07,709
♪ Hello, Daddy
Hello, Mom ♪
921
00:40:07,840 --> 00:40:11,017
♪ I'm your ch-ch-ch
cherry bomb! ♪
922
00:40:11,147 --> 00:40:12,235
[Joan Jett] "Cherry Bomb,"
923
00:40:12,366 --> 00:40:14,673
that was a song that was
written for Cherie Currie.
924
00:40:14,803 --> 00:40:16,718
For her audition,
she came, I think,
925
00:40:16,849 --> 00:40:18,938
with a Barry Manilow song
or something,
926
00:40:19,068 --> 00:40:21,854
and it was, like...
[chuckles]
927
00:40:21,984 --> 00:40:23,943
The look on Lita's face
was priceless.
928
00:40:24,073 --> 00:40:25,901
And I had my pad out,
929
00:40:26,032 --> 00:40:26,946
and I had my guitar,
930
00:40:27,076 --> 00:40:28,904
and I was playing a riff,
931
00:40:29,035 --> 00:40:30,079
and it just, you know,
932
00:40:30,210 --> 00:40:32,430
kind of came out
stream of consciousness.
933
00:40:32,560 --> 00:40:34,083
And then we went
back and said, "Sing this,"
934
00:40:34,214 --> 00:40:36,259
and we taught it to her,
935
00:40:36,390 --> 00:40:38,697
and it became a song,
and she became the singer.
936
00:40:38,827 --> 00:40:40,394
♪ Cherry bomb!
937
00:40:40,525 --> 00:40:43,528
[voice echoing]
♪ Cherry bomb!
938
00:40:45,921 --> 00:40:47,009
The Runaways' success,
939
00:40:47,140 --> 00:40:48,968
we didn't seem to have much
in the States.
940
00:40:51,971 --> 00:40:55,104
A lot of things that I thought
would be pretty easy...
941
00:40:56,366 --> 00:40:57,585
wasn't,
942
00:40:57,716 --> 00:40:59,108
and it wasn't because
we weren't talented.
943
00:40:59,239 --> 00:41:00,458
It was just...
944
00:41:02,764 --> 00:41:04,287
"No, you can't.
945
00:41:04,418 --> 00:41:06,202
You're not allowed,"
946
00:41:06,333 --> 00:41:09,771
and that just... killed me.
947
00:41:09,902 --> 00:41:11,381
It really killed me.
948
00:41:11,512 --> 00:41:14,167
And it was very,
very frustrating,
949
00:41:14,297 --> 00:41:16,125
very emotional,
950
00:41:18,171 --> 00:41:19,607
still to this day.
951
00:41:19,738 --> 00:41:22,001
♪♪♪
952
00:41:29,225 --> 00:41:33,926
I was a girl that loved
playing rock 'n' roll.
953
00:41:34,056 --> 00:41:37,886
I wanted to put into
some kind of words
954
00:41:38,017 --> 00:41:41,455
that, you know, teenage girls
aren't all sugar and spice,
955
00:41:41,586 --> 00:41:45,981
but I wanted people to notice
that we were girls
956
00:41:46,112 --> 00:41:47,896
and doing this.
957
00:41:48,027 --> 00:41:51,073
But I wanted to be a musician
who happened to be a girl,
958
00:41:51,204 --> 00:41:52,988
not girl musicians.
959
00:41:53,119 --> 00:41:56,644
[The Go-Go's performing
"Our Lips Are Sealed"]
960
00:41:56,775 --> 00:41:58,516
♪♪♪
961
00:42:01,257 --> 00:42:03,390
♪ Can you hear them?
962
00:42:03,521 --> 00:42:05,174
♪ They talk about us
963
00:42:05,305 --> 00:42:07,089
♪ Telling lies
964
00:42:07,220 --> 00:42:08,526
♪ Well, that's no surprise
965
00:42:08,656 --> 00:42:09,222
[Susanna Hoffs]
For other women who might
966
00:42:09,352 --> 00:42:10,832
want to make
a band together,
967
00:42:10,963 --> 00:42:12,399
the Go-Go's were
front and center to that.
968
00:42:12,530 --> 00:42:15,184
I found them inspirational.
969
00:42:15,315 --> 00:42:16,751
[Kate Pierson]
I just loved The Go-Go's,
970
00:42:16,882 --> 00:42:18,753
that they all, you know,
were this girl group.
971
00:42:18,884 --> 00:42:20,059
wrote their own songs,
972
00:42:20,189 --> 00:42:21,364
played their own instruments.
973
00:42:21,495 --> 00:42:23,279
♪ In the jealous games
people play ♪
974
00:42:23,410 --> 00:42:25,325
I remember seeing The Go-Go's
for the very first time
975
00:42:25,455 --> 00:42:27,022
when they played
in San Francisco.
976
00:42:27,153 --> 00:42:29,198
Everyone just wanted to be
a part of, you know,
977
00:42:29,329 --> 00:42:30,896
having that much fun,
978
00:42:31,026 --> 00:42:34,073
having, you know, that
kind of a sing-along quality
979
00:42:34,203 --> 00:42:35,988
to so many of the lyrics
980
00:42:36,118 --> 00:42:39,600
just seemed like
an idea whose time had come.
981
00:42:40,601 --> 00:42:44,126
♪ It doesn't matter
what they say ♪
982
00:42:44,257 --> 00:42:50,263
♪ In the jealous games
people play ♪
983
00:42:50,393 --> 00:42:52,439
♪ Our lips are sealed!
984
00:42:52,570 --> 00:42:53,440
I mean,
The Go-Go's started out
985
00:42:53,571 --> 00:42:54,833
in the punk scene in L.A.
986
00:42:56,182 --> 00:42:57,966
Just wearing combat boots,
987
00:42:58,097 --> 00:42:59,620
and, you know, they wore some
short skirts and stuff,
988
00:42:59,751 --> 00:43:03,015
but they weren't trying to be
glamour dolls or anything.
989
00:43:03,145 --> 00:43:05,191
When I first started
buying records,
990
00:43:05,321 --> 00:43:07,759
I bought Beauty and the Beat,
and I was like,
991
00:43:07,889 --> 00:43:09,412
"This is the coolest record.
992
00:43:09,543 --> 00:43:11,414
I love all of these songs,"
993
00:43:11,545 --> 00:43:13,199
because it was just that
classic, like,
994
00:43:13,329 --> 00:43:15,201
simple, straight to the point,
995
00:43:15,331 --> 00:43:18,552
power-chordy pop punk songs,
996
00:43:18,683 --> 00:43:20,772
like, these, like,
melodic pop melodies
997
00:43:20,902 --> 00:43:21,816
that are earworms
998
00:43:21,947 --> 00:43:22,730
that you can't get
out of your head.
999
00:43:22,861 --> 00:43:25,559
[Jane Wiedlin]
After 20 years or so
1000
00:43:25,690 --> 00:43:26,908
of listening to music
constantly,
1001
00:43:27,039 --> 00:43:29,258
I mean, ever since
I was four years old
1002
00:43:29,389 --> 00:43:30,999
and I fell in love
with the Beatles,
1003
00:43:31,130 --> 00:43:33,306
I think it was just
ingrained in me.
1004
00:43:33,436 --> 00:43:35,047
So I was lucky that way
1005
00:43:35,177 --> 00:43:37,179
that I didn't have to have
formal training
1006
00:43:37,310 --> 00:43:38,877
to learn how to write.
1007
00:43:39,007 --> 00:43:40,008
[Ann Powers]
We forget maybe now
1008
00:43:40,139 --> 00:43:42,576
just how rare
all-women bands were,
1009
00:43:42,707 --> 00:43:46,101
even in the late '70s,
early '80s.
1010
00:43:47,015 --> 00:43:48,843
[Aimee Mann] There was
finally women out there
1011
00:43:48,974 --> 00:43:51,106
who were being super creative,
1012
00:43:51,237 --> 00:43:53,108
who were really interesting,
1013
00:43:53,239 --> 00:43:55,415
I don't know, were willing
to try different things,
1014
00:43:55,545 --> 00:43:57,025
and seemed to be accepted
by the scene.
1015
00:43:57,156 --> 00:44:01,421
♪♪♪
1016
00:44:01,551 --> 00:44:03,075
[interviewer]
In your current album,
1017
00:44:03,205 --> 00:44:05,294
you are the writer,
the vocalist,
1018
00:44:05,425 --> 00:44:06,992
the keyboard player,
the producer, and the arranger.
1019
00:44:07,122 --> 00:44:09,342
[makes explosion sound]
Yeah.
1020
00:44:09,472 --> 00:44:11,126
[interviewer] Now, this is
very much a personal vision.
1021
00:44:11,257 --> 00:44:12,650
Are you afraid
1022
00:44:12,780 --> 00:44:14,913
that by not bouncing off
too many other people,
1023
00:44:15,043 --> 00:44:17,002
you might lose touch
with the audience?
1024
00:44:17,132 --> 00:44:19,047
Yes, I think that does
scare me,
1025
00:44:19,178 --> 00:44:21,093
but it doesn't worry me
at the moment
1026
00:44:21,223 --> 00:44:22,485
because although
1027
00:44:22,616 --> 00:44:24,444
I'm taking control
of a lot of things,
1028
00:44:24,574 --> 00:44:26,664
I'm still working
with other people.
1029
00:44:26,794 --> 00:44:29,492
You always depend on
the other people in the team
1030
00:44:29,623 --> 00:44:31,451
that are very much part
of what you're doing.
1031
00:44:32,800 --> 00:44:34,672
[Sheryl Crow] Kate Bush
was the first woman
1032
00:44:34,802 --> 00:44:38,110
that I ever witnessed
as being a performance artist.
1033
00:44:38,240 --> 00:44:39,328
She took music
1034
00:44:39,459 --> 00:44:41,330
and almost made it,
1035
00:44:41,461 --> 00:44:43,681
not a musical,
but something theatrical.
1036
00:44:45,465 --> 00:44:48,120
Not just performed,
but it was lived
1037
00:44:48,250 --> 00:44:52,341
and rendered
for the audience to witness.
1038
00:44:52,472 --> 00:44:55,344
She was really projecting
the whole story.
1039
00:44:57,869 --> 00:45:00,741
[Ann Powers] So she's out there
presenting herself
1040
00:45:00,872 --> 00:45:05,354
as this child of, like,
David Bowie and Lewis Carroll,
1041
00:45:05,485 --> 00:45:07,313
and surrealist art,
1042
00:45:07,443 --> 00:45:08,357
and all these things together,
1043
00:45:08,488 --> 00:45:10,403
and she's a unicorn.
1044
00:45:11,796 --> 00:45:15,321
[St. Vincent] She came in
late '70s, early '80s,
1045
00:45:15,451 --> 00:45:18,933
making this incredibly
out music
1046
00:45:19,064 --> 00:45:21,153
that just somehow,
1047
00:45:21,283 --> 00:45:24,112
even though it was, like,
really bizarre
1048
00:45:24,243 --> 00:45:26,375
in the best way possible,
1049
00:45:26,506 --> 00:45:28,377
reached the masses.
1050
00:45:28,508 --> 00:45:30,379
I mean, that's like--
1051
00:45:30,510 --> 00:45:33,121
That's the dream.
1052
00:45:34,253 --> 00:45:36,690
What I think people don't
really know about Kate Bush
1053
00:45:36,821 --> 00:45:40,172
is that she was
an absolute tech nerd,
1054
00:45:40,302 --> 00:45:43,523
and the first major pop star
1055
00:45:43,653 --> 00:45:45,481
to use
the Fairlight synthesizer
1056
00:45:45,612 --> 00:45:47,179
and have huge hits with that.
1057
00:45:47,309 --> 00:45:49,050
♪♪♪
1058
00:45:49,181 --> 00:45:50,573
[Ramona Gonzalez]
The thing about synthesizers,
1059
00:45:50,704 --> 00:45:52,750
there was this whole history
of women
1060
00:45:52,880 --> 00:45:53,620
who had actually been
on the forefront of that,
1061
00:45:53,751 --> 00:45:56,057
and Wendy Carlos particularly
1062
00:45:56,188 --> 00:45:58,407
ushered in the synthesizer
to popular music
1063
00:45:58,538 --> 00:46:00,279
with "Switched-On Bach."
1064
00:46:00,409 --> 00:46:01,280
[BBC presenter] Wendy Carlos,
1065
00:46:01,410 --> 00:46:02,760
in her studio
in Greenwich Village,
1066
00:46:02,890 --> 00:46:05,980
is one of the pioneers
of synthesized sound.
1067
00:46:06,111 --> 00:46:08,156
Her controversial versions
of the classics,
1068
00:46:08,287 --> 00:46:09,418
created entirely electronically,
1069
00:46:09,549 --> 00:46:11,899
put machine-made music
on the map.
1070
00:46:12,030 --> 00:46:13,683
♪♪♪
1071
00:46:13,814 --> 00:46:15,903
I think it needs
a little more echo.
1072
00:46:16,034 --> 00:46:17,513
♪♪♪
1073
00:46:21,387 --> 00:46:22,040
Yeah, that's good.
1074
00:46:23,693 --> 00:46:25,086
[presenter]
When it was first introduced,
1075
00:46:25,217 --> 00:46:28,089
it opened the door
to a world of music synthesis.
1076
00:46:28,220 --> 00:46:31,789
[synthesizer emulating
violins, then marimba]
1077
00:46:31,919 --> 00:46:34,095
Most of the time,
people in the music industry,
1078
00:46:34,226 --> 00:46:37,664
such as managers,
record label people,
1079
00:46:37,795 --> 00:46:39,622
who were predominantly male,
1080
00:46:39,753 --> 00:46:41,450
would encourage women to sing,
1081
00:46:41,581 --> 00:46:43,539
become a front person,
1082
00:46:43,670 --> 00:46:45,585
get a band to play
their instruments,
1083
00:46:45,715 --> 00:46:48,022
and just become
a front person alone.
1084
00:46:48,153 --> 00:46:50,808
Women were not seen
as technicians.
1085
00:46:50,938 --> 00:46:54,724
[Nona Hendryx]
The idea of a young woman,
1086
00:46:54,855 --> 00:46:56,596
and especially
a young woman of color,
1087
00:46:56,726 --> 00:46:59,686
telling the guy engineers
1088
00:46:59,817 --> 00:47:02,994
or the guy producer what to do,
1089
00:47:03,124 --> 00:47:04,517
you didn't come across that.
1090
00:47:04,647 --> 00:47:07,259
[Sheila E]
Any money that I got,
1091
00:47:07,389 --> 00:47:08,695
I would reinvest in myself,
1092
00:47:08,826 --> 00:47:12,133
so I would purchase
different recording equipment,
1093
00:47:12,264 --> 00:47:15,615
and I taught myself
how to run a studio,
1094
00:47:15,745 --> 00:47:18,139
how to cut tape, [laughs]
1095
00:47:18,270 --> 00:47:19,358
how to record,
1096
00:47:19,488 --> 00:47:20,707
even when it wasn't even
reel-to-reel tape,
1097
00:47:20,838 --> 00:47:22,752
it was like cassette tapes.
1098
00:47:22,883 --> 00:47:24,580
[Nona Hendryx]
I became obsessed
1099
00:47:24,711 --> 00:47:26,408
with recording technology,
1100
00:47:26,539 --> 00:47:27,714
and learning about electronics,
1101
00:47:27,845 --> 00:47:30,586
and how to make a record,
1102
00:47:30,717 --> 00:47:34,068
and making music
from soup to nuts,
1103
00:47:34,199 --> 00:47:36,854
from writing the song
to recording the song.
1104
00:47:36,984 --> 00:47:40,553
That is something
that I had to push for.
1105
00:47:40,683 --> 00:47:44,209
It was a new day
for a lot of people.
1106
00:47:44,339 --> 00:47:48,822
The '70s were such a crazy time
for women in music
1107
00:47:48,953 --> 00:47:51,607
because there were so many
new kinds of music
1108
00:47:51,738 --> 00:47:53,174
that were becoming popular,
1109
00:47:53,305 --> 00:47:56,221
and pretty much all of them
were led by women.
1110
00:47:56,351 --> 00:47:57,439
♪♪♪
1111
00:47:57,570 --> 00:47:59,572
♪ How come he don't come
1112
00:47:59,702 --> 00:48:03,141
♪ And PLP with me
1113
00:48:03,271 --> 00:48:06,361
♪ Down at the meter no more?
1114
00:48:06,492 --> 00:48:09,495
[Sheryl Crow] Rickie Lee Jones
was kind of a mess,
1115
00:48:09,625 --> 00:48:11,584
and a beautiful mess to me.
1116
00:48:11,714 --> 00:48:13,673
Like, she could play guitar,
she could play piano,
1117
00:48:13,803 --> 00:48:17,546
and she wrote
these very quirky songs,
1118
00:48:17,677 --> 00:48:20,375
and she didn't act or look
like everybody else,
1119
00:48:20,506 --> 00:48:22,725
but you could not take
your eyes off of her,
1120
00:48:22,856 --> 00:48:24,249
and her voice was unique,
1121
00:48:24,379 --> 00:48:26,251
and when she would sing,
1122
00:48:26,381 --> 00:48:28,688
you'd want to hear it again,
and again, and again,
1123
00:48:28,818 --> 00:48:30,777
and she was so unique,
1124
00:48:30,908 --> 00:48:32,866
and that was the thing
I loved about her most.
1125
00:48:32,997 --> 00:48:37,349
Rickie Lee, I never heard
somebody tell a story
1126
00:48:37,479 --> 00:48:38,524
quite like that.
1127
00:48:38,654 --> 00:48:40,613
She knew who she was.
1128
00:48:40,743 --> 00:48:44,225
Rickie Lee Jones. [chuckles]
1129
00:48:44,356 --> 00:48:46,271
[singing along]
♪ "Chuck E.'s in love"
1130
00:48:46,401 --> 00:48:48,099
♪ Yeah, yeah
1131
00:48:48,229 --> 00:48:52,364
♪ Chuck E.'s in love
1132
00:48:52,494 --> 00:48:54,322
[voice fades]
♪ Chuck E's in love...
1133
00:48:54,453 --> 00:48:56,890
I had just been homeless,
1134
00:48:57,021 --> 00:48:59,719
and was finally
getting enough money
1135
00:48:59,849 --> 00:49:03,375
to rent a place of my own.
1136
00:49:03,505 --> 00:49:05,594
So I worked for this gangster.
1137
00:49:05,725 --> 00:49:08,728
Rocky was his name.
1138
00:49:08,858 --> 00:49:11,731
"Come over here
and sit on my lap."
1139
00:49:11,861 --> 00:49:13,776
"I don't want to sit
on your lap."
1140
00:49:13,907 --> 00:49:15,169
"You want your job,
1141
00:49:15,300 --> 00:49:16,475
come over here
and sit on my lap."
1142
00:49:16,605 --> 00:49:18,477
[groans]
1143
00:49:20,522 --> 00:49:22,176
Okay.
1144
00:49:22,307 --> 00:49:25,919
So I'd sit on his lap
at the desk.
1145
00:49:26,050 --> 00:49:28,617
Well, he didn't
fondle me or anything.
1146
00:49:28,748 --> 00:49:29,836
I know he wanted to,
1147
00:49:29,967 --> 00:49:32,882
but he stopped at that point,
1148
00:49:33,013 --> 00:49:35,755
and I had to suffer
the humiliation
1149
00:49:35,885 --> 00:49:38,627
of sitting on this guy's lap.
1150
00:49:38,758 --> 00:49:40,586
Well, I'm supposed to be there
to type.
1151
00:49:40,716 --> 00:49:42,718
That was my job,
1152
00:49:42,849 --> 00:49:45,243
so I had
all the hours of the day
1153
00:49:45,373 --> 00:49:48,463
to use
this beautiful typewriter
1154
00:49:48,594 --> 00:49:50,422
and write lyrics,
1155
00:49:50,552 --> 00:49:52,598
and the feeling
of writing the lyric
1156
00:49:52,728 --> 00:49:54,513
with a typewriter
instead of a pen
1157
00:49:54,643 --> 00:49:56,819
was so thrilling.
1158
00:49:56,950 --> 00:50:01,302
An immense amount of words
could take place.
1159
00:50:01,433 --> 00:50:04,827
That kind of humiliation
happened all the time,
1160
00:50:04,958 --> 00:50:07,830
and so I endured it
1161
00:50:07,961 --> 00:50:10,355
because I was
getting a paycheck,
1162
00:50:10,485 --> 00:50:13,706
and had that IBM typewriter
to write my lyrics on.
1163
00:50:15,360 --> 00:50:16,709
Well, luckily, I lived in L.A.,
1164
00:50:16,839 --> 00:50:19,407
where the industry was.
1165
00:50:19,538 --> 00:50:23,020
There were plenty of women
who were never going to make it
1166
00:50:23,150 --> 00:50:26,371
because they'd slept
with somebody already.
1167
00:50:26,501 --> 00:50:28,634
Just, you know,
that casting couch
1168
00:50:28,764 --> 00:50:31,202
exists everywhere in Hollywood,
1169
00:50:31,332 --> 00:50:34,770
and if you're willing
to pay that,
1170
00:50:34,901 --> 00:50:36,903
if you're willing
to exchange that,
1171
00:50:37,034 --> 00:50:39,819
you're probably doomed,
1172
00:50:39,949 --> 00:50:42,387
because the people
who want that from you
1173
00:50:42,517 --> 00:50:44,302
are low-level people.
1174
00:50:44,432 --> 00:50:48,436
The high-level people
are busy doing their job.
1175
00:50:48,567 --> 00:50:50,308
Dr. John said to me,
1176
00:50:50,438 --> 00:50:54,399
"You're about to enter
a pit of vipers." Right?
1177
00:50:54,529 --> 00:50:57,489
You have to resolve
what you're willing to do,
1178
00:50:57,619 --> 00:51:00,361
and if you believe
in your music,
1179
00:51:00,492 --> 00:51:02,798
you're not going to
have to do that with anybody,
1180
00:51:02,929 --> 00:51:05,845
but when the test
actually came
1181
00:51:05,975 --> 00:51:06,933
of meeting people
and negotiating,
1182
00:51:07,064 --> 00:51:08,935
I knew exactly the way to go,
1183
00:51:09,066 --> 00:51:12,721
which was never to compromise
1184
00:51:12,852 --> 00:51:15,072
on the picture I had
1185
00:51:15,202 --> 00:51:17,857
of who I was
and how I wanted to do things.
1186
00:51:17,987 --> 00:51:21,556
I knew that I was creating
the picture
1187
00:51:21,687 --> 00:51:23,384
I would live with always,
1188
00:51:23,515 --> 00:51:28,389
and I had to be sure
and absolute in it.
1189
00:51:28,520 --> 00:51:33,351
And I felt totally...
[laughs] positive about it,
1190
00:51:33,481 --> 00:51:35,614
but that didn't mean
I would get signed.
1191
00:51:35,744 --> 00:51:38,617
This is a time of disco.
1192
00:51:38,747 --> 00:51:40,619
Everybody, including Blondie,
1193
00:51:40,749 --> 00:51:42,751
everybody going to disco.
1194
00:51:52,718 --> 00:51:56,678
["I'm Every Woman"
by Chaka Khan begins]
1195
00:51:56,809 --> 00:51:57,897
♪♪♪
1196
00:51:58,027 --> 00:52:00,508
[Jody Watley]
"I'm Every Woman"
1197
00:52:00,639 --> 00:52:02,293
is one of the great
women empowerment songs
1198
00:52:02,423 --> 00:52:04,512
of all time.
1199
00:52:04,643 --> 00:52:06,471
[Susanna Hoffs]
This is music that you just,
1200
00:52:06,601 --> 00:52:07,950
you have to dance to it.
1201
00:52:08,081 --> 00:52:09,822
[Macy Gray]
When I was coming up,
1202
00:52:09,952 --> 00:52:11,040
all the big stars,
1203
00:52:11,171 --> 00:52:12,868
they wore, like,
sequined dresses,
1204
00:52:12,999 --> 00:52:13,869
and they were all glamorous,
1205
00:52:14,000 --> 00:52:15,697
and the voices were perfect,
1206
00:52:15,828 --> 00:52:17,917
and Chaka Khan,
1207
00:52:18,047 --> 00:52:20,093
she was, like, a little grimy.
1208
00:52:20,224 --> 00:52:22,791
Like, she got up there
in her halter top.
1209
00:52:22,922 --> 00:52:27,144
I don't know anyone
who can sing like she does,
1210
00:52:27,274 --> 00:52:28,884
and hit these notes
the way that she does,
1211
00:52:29,015 --> 00:52:31,452
even as of today.
1212
00:52:31,583 --> 00:52:35,717
Chaka Khan's voice
is the voice you hear
1213
00:52:35,848 --> 00:52:38,851
when a baby first cries
after being born.
1214
00:52:38,981 --> 00:52:41,810
♪ Baby, I've got it!
1215
00:52:41,941 --> 00:52:44,683
♪ I'm every woman
1216
00:52:44,813 --> 00:52:47,816
♪ It's all in me
1217
00:52:47,947 --> 00:52:49,905
That is just so primal.
1218
00:52:50,036 --> 00:52:53,344
♪♪♪
1219
00:52:53,474 --> 00:52:54,823
This idea
that, "I'm every woman,
1220
00:52:54,954 --> 00:52:57,391
and this is
a point of strength,"
1221
00:52:57,522 --> 00:52:59,306
was really
particularly powerful.
1222
00:52:59,437 --> 00:53:02,004
She gave people the belief
1223
00:53:02,135 --> 00:53:05,312
that they could be
that carefree Black girl
1224
00:53:05,443 --> 00:53:06,313
before that was a term.
1225
00:53:08,837 --> 00:53:11,753
I was not ready at that time,
1226
00:53:11,884 --> 00:53:13,059
to be the bringer of that truth.
1227
00:53:13,190 --> 00:53:17,063
I wasn't ready for a long time.
1228
00:53:17,194 --> 00:53:20,980
Chaka Khan is really singular
in this idea
1229
00:53:21,110 --> 00:53:23,591
that she sort of
seamlessly made it
1230
00:53:23,722 --> 00:53:26,594
from funk to disco.
1231
00:53:26,725 --> 00:53:28,422
[Kate Pierson]
When punk came along,
1232
00:53:28,553 --> 00:53:30,859
disco was waning,
but still happening,
1233
00:53:30,990 --> 00:53:32,557
and we loved disco,
1234
00:53:32,687 --> 00:53:34,602
and Sister Sledge,
1235
00:53:34,733 --> 00:53:37,736
and, you know, all the powerful
female disco singers.
1236
00:53:37,866 --> 00:53:38,998
It was dance music,
1237
00:53:39,128 --> 00:53:40,042
and punk was like,
"We hate disco,"
1238
00:53:40,173 --> 00:53:41,348
but we loved disco.
1239
00:53:41,479 --> 00:53:43,655
♪♪♪
1240
00:53:43,785 --> 00:53:47,615
In the late '70s, it was,
you know, disco mania.
1241
00:53:47,746 --> 00:53:50,357
The music scene
was just exploding.
1242
00:53:52,185 --> 00:53:55,362
You had disco,
and dance music,
1243
00:53:55,493 --> 00:53:57,756
you know, Donna Summer.
1244
00:53:57,886 --> 00:54:01,020
Disco relied so much
1245
00:54:01,150 --> 00:54:03,065
on the voices of women,
1246
00:54:03,196 --> 00:54:05,590
and particularly of Black women,
1247
00:54:05,720 --> 00:54:09,550
often in partnership
with male managers or producers.
1248
00:54:11,378 --> 00:54:12,423
This is the first time
we worked together.
1249
00:54:12,553 --> 00:54:14,294
We worked at together
for 10 years after that,
1250
00:54:14,425 --> 00:54:18,646
and Arif and I used to argue
a lot about the notes.
1251
00:54:18,777 --> 00:54:20,518
And I would say,
"I'm going to sing this,
1252
00:54:20,648 --> 00:54:21,954
and this one here,
and this one here,
1253
00:54:22,084 --> 00:54:22,998
and I'm going to add
a third note,
1254
00:54:23,129 --> 00:54:23,956
and it's going to be this."
1255
00:54:24,086 --> 00:54:26,132
He'd say, "Wait a minute,"
1256
00:54:26,263 --> 00:54:29,309
and he'd go and get
his music pad and say,
1257
00:54:29,440 --> 00:54:30,832
[imitating Arif] "But
those three notes do not work."
1258
00:54:30,963 --> 00:54:31,877
He was Turkish.
1259
00:54:32,007 --> 00:54:33,661
He didn't understand
1260
00:54:33,792 --> 00:54:35,576
why the harmonies worked,
1261
00:54:35,707 --> 00:54:37,839
because they were wrong
when you wrote it on paper,
1262
00:54:37,970 --> 00:54:40,668
and he--he--he really
got upset about it.
1263
00:54:40,799 --> 00:54:41,930
He was like, "Wait a minute.
Wait, wait, wait.
1264
00:54:42,061 --> 00:54:43,541
Let me work this out."
1265
00:54:43,671 --> 00:54:45,630
I said, "It's done.
I just sang it,
1266
00:54:45,760 --> 00:54:47,849
so can we move on
to the next one?"
1267
00:54:47,980 --> 00:54:50,330
♪♪♪
1268
00:54:52,158 --> 00:54:53,551
I love that man.
1269
00:54:53,681 --> 00:54:56,510
He...
1270
00:54:56,641 --> 00:55:00,035
He did so much for me
as a human being.
1271
00:55:03,822 --> 00:55:06,999
I got more power
doing my solo career
1272
00:55:07,129 --> 00:55:08,348
because it was just me.
1273
00:55:10,872 --> 00:55:13,005
I went to the meeting
with Bob Ellis,
1274
00:55:13,135 --> 00:55:16,965
with the guy that was going
to put MTV out there.
1275
00:55:17,096 --> 00:55:18,532
We went out to lunch.
1276
00:55:18,663 --> 00:55:19,838
[Robert Pittman]
What we've introduced with MTV
1277
00:55:19,968 --> 00:55:21,535
is a non-narrative form.
1278
00:55:21,666 --> 00:55:23,581
As opposed to
conventional television,
1279
00:55:23,711 --> 00:55:25,104
where you rely on plot
and continuity,
1280
00:55:25,234 --> 00:55:27,062
we rely on mood and emotion.
1281
00:55:27,193 --> 00:55:29,021
We make you feel a certain way.
1282
00:55:29,151 --> 00:55:30,892
[Chaka Khan] I said,
"I think it's a great idea.
1283
00:55:31,023 --> 00:55:33,721
I think that's the future."
1284
00:55:33,852 --> 00:55:36,158
[TV static hisses]
1285
00:55:36,289 --> 00:55:40,641
[Pat Benatar] MTV
was a massive culture shift.
1286
00:55:40,772 --> 00:55:42,948
We had no idea
what was about to happen.
1287
00:55:43,992 --> 00:55:45,646
When they came to us
1288
00:55:45,777 --> 00:55:47,996
with this idea of this
music television station,
1289
00:55:48,127 --> 00:55:52,740
the entire band was like,
"Abso-fuckin'-lutely not!
1290
00:55:52,871 --> 00:55:54,002
We are not doing that,"
1291
00:55:54,133 --> 00:55:55,613
and I said, "Okay, wait,
1292
00:55:55,743 --> 00:55:57,092
I know we can find a way
to do this
1293
00:55:57,223 --> 00:55:59,747
that will, you know, just like
make everything explode."
1294
00:55:59,878 --> 00:56:02,271
♪♪♪
1295
00:56:02,402 --> 00:56:06,841
And after 10 days
of MTV being on the air,
1296
00:56:06,972 --> 00:56:08,582
I couldn't go anywhere.
1297
00:56:08,713 --> 00:56:11,324
[crowd cheering and screaming]
1298
00:56:11,455 --> 00:56:13,761
I mean, people, they were
watching you sing now,
1299
00:56:13,892 --> 00:56:15,937
like, on television
all the time.
1300
00:56:16,068 --> 00:56:19,593
They knew you by your lips,
and your teeth.
1301
00:56:19,724 --> 00:56:21,116
You couldn't do stuff anymore,
1302
00:56:21,247 --> 00:56:24,119
not in any way, shape, or form,
1303
00:56:24,250 --> 00:56:25,991
ever again.
It changed everything.
1304
00:56:27,296 --> 00:56:29,386
♪♪♪
1305
00:56:31,649 --> 00:56:33,520
♪♪♪
90427
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