All language subtitles for fihaihdjawfoa

a week later or something.

♪ Ob-la-di, ob-la-da ♪

♪ Life goes on, wah ♪

♪ La, la, how the life goes on ♪

♪ Ob-la-di, ob-la-da ♪

♪ Life goes on, wah ♪

♪ La, la, how the life goes on ♪

♪ Ob-la-di, ob-la-da ♪

♪ Life goes on, wah ♪

♪ La, la, how the life goes on ♪

♪ Ob-la-di, ob-la-da ♪

♪ Life goes on, wah ♪

♪ La, la, how the life goes on ♪

Whoo!

Thank you, God bless you.

(CROWD CHEERS)

-ALANIS: Where? Did we miss it?
-BAND MEMBER: Come back around.

TAYLOR: I remember
being protective of her.

I remember playing clubs

and guys trying to sneak
backstage and stuff,

just a little bit.

But I just remember us being,
like, protective of her.

And her being sort of
protective of us

and also being like, you know,

"You guys being good boys
out here?"

Which, of course,
we were fucking not at all.

I mean, the most debaucherous
tour I've ever done in my life

was with Alanis Morissette.

BAND MEMBER: Aloha.

CHRIS: We were just partying.

Like, that's what
our heroes did.

I remember Slash saying,

"God, I remember hearing about
how you guys were on that tour."

"I mean, I heard you guys were
partying harder than we were."

These, like, 24,
25-year-old guys.

We have, like, hormones on fire.

Now we're rock stars playing

with the biggest pop star
on the planet.

CHRIS: Chicago!

Hey, Taylor!

''Hey, there's the man.

-I started this. I started--
-Good job.

-That's her pen.
-He's so hot, isn't he?

-Yeah!
-Yeah.

TAYLOR: As Alanis is rising,

strong woman,
standing up for, you know...

just, like, feminism,
you know, essentially.

And...

And we were all just,
the whole band was just...

trying to fuck as many chicks
as we possibly could

the whole time.

Here we have Jesse Tobias

getting in on
the autograph scam.

Got a lot of young ladies
that want to meet him.

Can we be your groupies and tag
along on the road with you?

ALANIS: These young women

are coming just to hear
what I have to say,

and then you're manipulating
the groupie conversation?

Even the word "groupie",
I'm like, "No."

You mean a human fucking being
coming to a show.

Agenda-d or not.
Doesn't fucking matter.

We had a stack of
after-show passes.

I can't believe I'm gonna
tell you this.

We literally had a room

on the other side of the arena,

and our guitar tech would
give out passes.

To bring women backstage
who just are dying.

They want to meet Alanis.
Maybe they want to meet us,

but we know they want
to meet Alanis.

The hypocrisy of what her music
and message was,

then here you have us,
like, scoundrels.

You know, trying to get laid.

You know what?
Taylor's out there stealing all

the young girls, Alanis.

-He's right there, hon.
-He's in here.

You fucking liar!

What are you talking about,
you turkey?

And then Alanis found out
about that,

and she got so fucking
pissed at us.

It did feel disrespectful to me.

Some of the behavior
just didn't match

my mission or my value system
at all.

But I'd only grown up
around men.

So I just thought, "Okay, well,

you gonna replace them
with five other men

that are gonna do the exact same
thing and won't sound as great?"

(LAUGHS)

All those years of sitting in my
bedroom practicing my guitar,

how did they get me
to right now?

ALANIS: What can I ask you?

What's it like being a male
playing in a band with a woman?

NICK: I think, in a sense,

lead singers are
their own breed.

ALANIS: A dime a dozen? (LAUGHS)

NICK: No, they're
their own breed,

whether you're male or female.

You guys, this looks so amazing.
I'm dying.

SHIRLEY: When you are
the only woman

in a male-dominated environment,

no matter what the relationship
is with your peers

or your employees,

it's still, I think, very
complicated and complex.

Men have not been raised
to believe

that women should have

as much social and economic
power as they do.

I didn't pay attention to
who her band was. But...

were we supposed to?
(CHUCKLES)

-ALANIS: Michelle. There she is.
-Hi.

-ALANIS: Hi, cutie.
-Hi.

MICHELE: The fact
that the band wasn't

"Alanis Morissette
and the Heartbreakers",

the fact that they weren't

headlining with their names
and Alanis,

it might have been
hard for them.

It was what it was.
I mean, it's my record.

This is Jagged Little Pill.

And you're all knocking it
out of the park

and taking it to a whole
other level.

But there was no way around
the fact that it was me.

You auditioned for--

You auditioned to be
in the band for a solo artist.

So, if that's not what
you're okay with...

you don't have to be here.

♪ ("YOU OUGHTA KNOW" BY SCALA
& KOLACNY BROTHERS PLAYS) ♪

♪ I want you to know ♪

♪ That I'm happy for you ♪

♪ I wish nothing but ♪

♪ The best for you both ♪

♪ An older version of me
Is she perverted like me? ♪

♪ Will she go down on you
in a theatre? ♪

♪ Does she speak eloquently? ♪

♪ And would she have your baby ♪

♪ I'm sure she'd make
a really excellent mother ♪

♪ 'Cause the love that you gave
that we made ♪

♪ Wasn't able to make it enough
for you to be open wide ♪

♪ No ♪

♪ And every time
you speak her name ♪

♪ Does she know how you told me
you'd hold me until you died ♪

♪ Till you died
But you're still alive ♪

♪ But I'm here to remind you ♪

♪ Of the mess you left... ♪

LISA: As soon as Alanis'
started becoming a thing,

of course came the idea
that she was Svengali'd

because she wrote the record
with Glen Ballard.

Therefore, clearly, it's good,
so it had to come from a man.

SHIRLEY: It's still an instinct
to diminish any woman

who isn't willing to participate

in the little box that has been
carved out for her in society.

HANIF: All the
Jagged Little Pill
reviews that I read

were written by men

who could not move
beyond this binary of,

"Well, she's angrier
than we'd like her to be."

ALANIS: When I write really
angry songs about someone,

I'm not writing
to get back at that person,

I'm writing because
it's the only environment

where I can get angry and not
have it be destructive.

It's just an expression,
unjudged, uncensored.

It's a very pure, sacred place
to me.

JOHANNA: "You Oughta Know"
created this perception

that Alanis was this
rageful, vengeful,

angry young woman.

HANIF: And of course,
that's gendered, right?

Of course, so much of it was,
at its core,

"Well, why is this woman
so angry?"

Even in the reviews that praised
Jagged Little Pill,

there are people who were
just, like, "Well, gosh,

she's just so angry."

They were bearing witness
to someone who was

an immensely gifted writer.

It was easier to kind of, like,
backhandedly compliment

the writing while couching
it in, "But she's so angry."

ALANIS: Empowerment
as a young woman in the '90s

was exciting for a lot
of people.

But it was also not good news
for the patriarchy.

All of a sudden, I started
naming it or singing about it.

That was not welcome.

If you spoke up, you were just
immediately shut down...

and shamed.

♪ That you gave to me ♪

♪ You, you, you oughta know ♪

The point in my writing
these songs...

I was not writing to punish.

I was writing to express
and get it out of my body

because I didn't want
to get sick.

When I was younger, I spent
a lot of time with adults.

And I immersed myself in
an industry that, you know,

forces you to have an
accelerated growth.

So you have to grow up
in order to control

what's happening to you,
I suppose.

Yeah, self-protection,
self-preservation.

I mean, I had no idea what
the concept

of "professional boundary"
meant.

But it was me getting
a sense of...

boundaries, or lack thereof.

INTERVIEWER: Have you had
some bad loves?

Yes, definitely.

I've had a lot of sort of
negative relationships,

definitely. Um...

partly-- you know, partly my
responsibility, really.

I take-- You know,
I take responsibility for those.

No, no, no, you don't have
to blame yourself.

I'm not blaming myself.
I'm taking part responsibility.

Me not telling specific
information about

my experience as a teenager

was almost solely around
wanting to protect.

Protect my parents, protect...

my brothers,
protect future partners,

protect myself,
protect my physical safety.

Yeah.

I'm gonna need some help,

'cause I never talk
about this shit.

There was a lot of shame

around having any kind of
victimization of any kind.

And it took me years in therapy
to even admit

that there had been any kind
of victimization on my part.

I would always say, you know,

"I was consenting."
You know?

And then I'd be reminded, like,
"Hey, you were 15."

"You're not consenting at 15."

Now I'm like, "Oh yeah,
they're all pedophiles."

"It's all statutory rape."

I did tell a few people
and they--

You know, it kind of fell
on deaf ears a little bit.

It would usually be a "stand up,
walk out of the room" moment.

So a lot of people say, "Why did
that woman wait 30 years?"

I'm like, "Fuck off, they didn't
wait 30 years."

"No one was listening, or their
livelihood was threatened,

or their family was threatened."

So, yeah, the whole
"why do women wait" thing,

women don't wait.

A culture doesn't listen.

(PROJECTOR WHIRRING)

HANIF: Whenever people talk
about the album,

they are often quick to talk
about the anger in it,

but not about the release or
the joy or the pleasure in it.

Because Jagged Little Pill
is also a humorous album.

And it's also playful,
and it's also layered.

It's also heartbreaking,
but promising.

None of the rest of that album
is that angry.

ALANIS: What about songs like
"Head Over Feet"?

What about songs like
"You Learn"?

KEVIN: I mean, come on,
you throw

a fucking rock at that album,

you hit a song that somebody
sang, anthem-like,

over and over and over again.

GLEN: There's only one song that
I wanted on the record

that nobody really wanted
on the record.

It was called "Ironic".

♪ ("IRONIC"
BY ALANIS MORISSETTE PLAYS) ♪

I begged. And we put it
way down the list.

♪ An old man ♪

♪ Turned 98 ♪

♪ He won the lottery ♪

♪ And died the next day ♪

The idea of something that's
almost perfect

and then something ruins it.

♪ It's a death row pardon ♪

♪ Two minutes too late ♪

♪ Isn't it ironic? ♪

♪ Don't you think? ♪

For her to write, "It's like
rain on your wedding day..."

It's like...

What a hook.

I'm sorry, she just
fucking nailed it.

♪ It's like rain ♪

♪ On your wedding day ♪

♪ It's a free ride ♪

♪ When you've already paid ♪

♪ It's the good advice ♪

♪ That you just didn't take ♪

♪ And who would've thought? ♪

♪ It figures ♪

♪ Mr. Play-It-Safe
was afraid to fly ♪

♪ He packed his suitcase
and kissed his kids goodbye ♪

♪ He waited his whole damn life
to take that flight ♪

HANIF: She almost writes
with communal gathering in mind.

Alanis is one of those artists
who has mastered

the shout-along crescendo.

♪ It's like rain
on your wedding day ♪

♪ It's a free ride
when you've already paid ♪

♪ It's the good advice
that you just didn't take ♪

♪ And who would have thought?
It figures ♪

(CROWD CHEERS)

A-one, and a-two,
and a-one, two, three.

♪ Well, life has a funny way
of sneaking up on you ♪

♪ When you think
everything's okay ♪

♪ And everything's going right ♪

♪ And yeah, well ♪

♪ Life has a funnier way
of helping you out ♪

♪ When you think
everything's gone very wrong ♪

♪ And everything blows up
in your face ♪

KEVIN: It's a female artist
singing about

a female life and identity

that transcended gender,

where dudes could be like,
"I feel the same way."

HANIF: She's also great
with imagery.

While people were arguing over
the linguistic use of irony,

I think they missed out
on the imagery.

♪ It's like 10,000 spoons ♪

♪ When all you need is a knife ♪

GLEN: Ten thousand spoons
when all you need is a knife.

Who comes up with that shit?
Alanis, you know?

♪ Isn't it ironic? ♪

HANIF: When you talk about rain
on your wedding day,

I can see and feel
the disappointment

that comes with that.

I didn't know what that was
when I was 13, 14.

♪ It's like rain ♪

♪ On your wedding day ♪

♪ It's a free ride ♪

♪ When you've already paid ♪

♪ It's the good advice ♪

♪ That you just didn't take ♪

♪ And who would have thought? ♪

♪ It figures ♪

♪ (VOCALIZING) ♪

♪ Yeah, yeah, well ♪

♪ Life has a funny way
of sneaking up on you ♪

♪ (VOCALIZING) ♪

(CROWD CHEERS)

DRIVER: Hey, do you want me
to go straight

-and we'll come back around?
-Want to get down?

Here you go.

God.

ALANIS: I couldn't leave
my hotel room.

We'd land somewhere, and there'd
be 10,000, 20,000 people.

And I'd walk through, and people
would snip pieces of my hair

or just punch me.

That's where I was like,
"This can't be personal."

"This isn't personal."

"This is just... a thing...

that has almost nothing
to do with me."

Being in the public eye is not
a normal social construct.

I used to will myself to go
back to sleep,

because my waking life
felt like such a dream.

And when I would sleep,
it felt like a normal life.

♪ And all I really want ♪

♪ Is some comfort ♪

♪ A way to get my hands untied ♪

♪ And all I really want ♪

♪ Is some justice ♪

♪ (VOCALIZING) ♪

♪ All I really want ♪

(SPEAKING IN FOREIGN LANGUAGE)

(CROWD CHEERS)

ALANIS: You're in a lot
of positions

where you want
to connect with people.

There was less of a sense
of community

than I thought there would be.

And there's a lot of illusion
within all of what I do.

There's a lot of mystery
surrounding it.

And when you really get inside
of it and you realize

that success as such may not
give you what it has

promised it would give you,

it can be very disheartening
but equally exciting

because it allows you
to question everything.

So how are you?
How was this tour for you?

The most intense thing
probably in my entire life.

Really?

TAYLOR: We toured hard.

Eighteen months
of hard-core touring.

I mean, it was literally 18
months of just fucking,

"Where are we?"

"Here's your hotel key."
(SCOFFS)

ALANIS: My work addiction
wasn't really addressed.

I didn't even know there
was such thing.

If we say we work
till 5:00 in the morning,

someone would go,
"Oh, that's great."

"You must have gotten so
much done," you know?

But if I said I did heroin
till 5:00 in the morning,

people would be concerned,
understandably.

TAYLOR: Life changing, good
or bad, is still traumatic.

And all of our lives changed
on that tour.

CHRIS: Thank God our last show's
in Hawaii.

What a beautiful place
to finish it out.

ALANIS: Yeah, in Hawaii,
I just thought, "Oh my God...

this is over for now," you know?

And I hadn't lived anywhere.

I didn't have a home
for the whole tour.

And, you know, friendship-wise,
it was a very tenuous time

in terms of, who do I trust?
Who's a real friend?

Who's here for opportunistic
reasons?

Who's here for exploitation
reasons?

Who's here because they
actually love me?

You know?

♪ (ROCK MUSIC PLAYS) ♪

(CROWD CHEERS)

(CROWD CHEERS)

Thank you very much, everyone.

Thank you so much,
it's been great.

Bye.

TAYLOR: We finished
that last show in Hawaii.

Yeah, I wasn't sure what was
gonna happen.

ALANIS: What are you gonna do
when you're done for a while?

TAYLOR: (SHARP EXHALE)
God, I don't know.

-Go crazy for a little while.
-ALANIS: Yeah?

You know, just play drums, surf.

Surf?

TAYLOR: And that's when I heard
on the radio

that Foo Fighters
were looking for a drummer.

And I knew I'd better
figure out my next move.

(BOTH CHUCKLE)

-Okay, we won't use that.
-Okay.

TAYLOR: I went on to join
the Foo Fighters.

I remember calling her,
and she cried. And I felt...

Like I was leaving her,
you know?

But I also knew she didn't
need me.

It was definitely kind of
a "breaking up of a family"

sort of thing.
After 18 months of that,

I think that was hurtful to her.

And I think she felt
a little bit like I,

you know, betrayed her.

Okay, Taylor.

-Simple messages. Little things.
-All right.

I was full devastated.

You know, you spend time
with these people,

and you witness each other
in these contexts

that are really unusual,

and then you go your
separate ways.

And it's almost like...

their view of what had happened

goes with them.

And so it's almost like certain
chapters and eras disappear

when the witnesses disappear.

♪ ("MARY JANE"
BY ALANIS MORISSETTE PLAYS) ♪

♪ What's the matter Mary Jane? ♪

♪ Had a hard day? ♪

♪ As you place the don't disturb
sign on the door ♪

♪ You lost your place
in line again ♪

♪ What a pity ♪

♪ You never seem to want
to dance anymore ♪

♪ It's a long way down ♪

♪ On this rollercoaster ♪

♪ The last chance ♪

♪ Streetcar ♪

♪ Went off the track ♪

♪ And you're on it ♪

This is the most peaceful I've
ever been in my whole life.

With what this last year
and a half has given me,

you'd think that I wouldn't be
peaceful right now.

But I think it's forced me to go

either to a peaceful place
or a crazy place.

♪ (VOCALIZING) ♪

♪ You're the sweet crusader ♪

♪ And you're on your way ♪

♪ You're last great ♪

♪ Innocent ♪

♪ And that's why I love you ♪

(CROWD CHEERS)

I'm really happy right now,
happy for my own reasons.

Not happy because
I've sold millions of records,

not happy because--

Not happy because I am
playing stadiums,

not happy because I'm touring
the world necessarily,

not happy because I'm "winning
awards", quote, unquote.

But I'm happy because I've
finally reached a place

where I can create what I want

and where I don't have to worry
about putting food on my plate.

LORRAINE: For an artist
who comes into it as themselves,

with messy hair,

with the clothes from
their closet

rather than what the record
company dressed them in,

somebody whose image
wasn't concocted and fabricated,

it's pretty phenomenal that she
broke through as big as she did

and has had the longevity
that she has had,

because none of that
should have ever happened

if you went along with
what the rules are

in rock and pop fame.

But nobody told her that,
apparently.

Alanis opened a bunch
of different doors

for artists that came after her.

She inspired a generation

of confessional female
singer-songwriters.

♪ And I'm here ♪

♪ To remind you ♪

SHIRLEY: Only in hindsight
am I aware of what Alanis did

for every woman that's
come up behind her.

♪ To deny me ♪

♪ Of the cross you bear ♪

SHIRLEY: When you're battering
down 30 million doors,

that's helping everyone.
That's helping every woman

have just that little more
chance of being successful.

LORRAINE: After
Jagged Little Pill,

her two next albums debuted
at number one on Billboard.

And even as music is changing,

even as, you know, the names
of the artists

at the top of those charts
are changing,

she's dropping in at the top.

From Jagged Little Pill
all the way up to Broadway,

what is the core thing
that pulled her through

and kept her sane

and made it so she
didn't implode

like a billion other artists
was the music.

JOHANNA: To get shot out of
a fame rocket,

it's a very isolating
experience.

I'm so thankful that
she survived it...

that she is surviving it,

because, you know,
it's a one-way street.

And that she just has done it
with such grace

and constant self-preservation.

I take it really seriously.

I take my healing and recovery
work really, really seriously.

And I've done a lot of therapy,
copious amounts of therapy.

I feel very open.

I feel like the future
is limitless.

All of this has just begun.

All of this exploration
has just begun.

I knew pretty intuitively that
there was no way to re-create

something that ineffable
and magical.

And I thought the idea
of chasing some kind

of repetition was ridiculous.

But I also trusted
the ebbs and flows

of fame, under a rock,
fame, under a rock,

fame, loved, hated,
hated, hated, loved, loved,

fame, under the rock.

I mean, that's just how
my whole life has been

to this day.

You know, I'm either super
public, or I'm in my sweatpants,

writing, creating, generating,

stepping out, public,
and then hiding again.

I mean, that's just how it is.

That's how I survive it.

(WATER BUBBLING)

MALE VOICE: Work it.

Yeah.

All right, I'm gonna see
what I can get done.

I got a bunch of stuff here,
but--

No, and the thing is, is like...

she could also sign them

tomorrow, like,
when you and I have

our call with her
at 3:00, you know what I mean?

ALANIS:
Hello, it smells good in here.

Okay.

ONYX: Hi, Mommy.

-Hi, gorgeous.
-What are you doing?

I'm singing the song
about you and Winter and Ever.

Would you like to sit on a chair
next to me,

or would you like me
to hold you?

-I want you to hold me!
-(TOY PIANO PLAYING)

Ready?

Ready, ready, ready, ready.

(INDISTINCT CHATTER)

Why do we need that?

'Cause if I go... (POPS)

...and some spit goes on there,
it sounds like "poof",

as opposed to... (POPS)

-WOMAN: Here we go.
-Okay.

JIMMY FALLON: Performing
the song "Ablaze"

from her first album
in eight years,

here's the one and only
Alanis Morissette.

The music's playing, Mommy.

It is. It's an intro.

Okay, then sing it.

♪ First thing
that you'll notice ♪

♪ Is some separation
from each other ♪

♪ Yes, it's a lie ♪

♪ We've been believing
since time immemorial ♪

♪ There was an apple
There was a snake ♪

♪ There was division ♪

♪ There was a split ♪

♪ There was a conflict
in the fabric of life ♪

Sorry, but that's not
the same time as...

Okay, sorry.

♪ To my boy ♪

♪ ("ABLAZE"
BY ALANIS MORISSETTE PLAYS) ♪

♪ All that energy, so vital ♪

♪ Love your hues ♪

♪ And your blues
in equal measure ♪

♪ Your comings
And your goings-away ♪

♪ My mission is to keep
the light in your eyes ablaze ♪

-Hi, Mom.
-Hi, baby.

I really like that, and that.

♪ To my girl ♪

♪ All your innocence and fire ♪

♪ When you reach out ♪

♪ I am here hell or high water ♪

♪ This nest is never
going away ♪

-Did you say "nest"?
-Nest.

My mission is to keep...

-Well, why did you say "nest"?
-'Cause it's a nest.

Oh.

♪ Ablaze ♪

So, are you gonna sing soon?

-Sure.
-Okay.

Five one way,
five the other way.

-Five one way.
-The whole stack?

And then while she's
doing the stack,

you can make
the next stack...

-Tidy.
-Homogenous.

-Facing the same way.
-Okay.

There's one.

MAN: This is huge to have...

-Huge.
-MAN: Manpower.

That one's good.

I love these signatures.
It's like, every time--

ALANIS:
You're the only one, believe me.

-People are like, "Oh."
-MAN: Yeah.

ALANIS: I'm like, "What?"

-They're like, "Oh."
-MAN: All right, you want--

Fine, you want a nice,
neat fake-ass one?

ALANIS:
You want me to just print it?

MAN: Yeah.

ALANIS:
Strangely satisfying.

When I hear Jagged Little Pill,

whether it's through
the beautiful voices

of the Jagged Little Pill
musical,

or whether it's while
I'm singing it,

or hearing it on the radio...

There's a kindness.

It's like this velvet kindness.

No matter how pissed off
she is...

It's like there's mercy in it.

There's empathy in it.

There's hope,
even when the song is hopeless.

There's a little dreg of...

Of "everything's gonna be okay,
no matter how horrible it gets."

♪ ("HEAD OVER FEET"
BY ALANIS MORISSETTE PLAYS) ♪

♪ I couldn't help it ♪

♪ It's all your fault ♪

♪ You've already won me over ♪

♪ In spite of me ♪

♪ Don't be alarmed if I fall ♪

♪ Head over feet ♪

♪ And don't be surprised
if I love you ♪

♪ For all that you are ♪

♪ I couldn't help it ♪

♪ It's all your fault ♪

♪ Your love is thick ♪

♪ And it swallowed me whole ♪

♪ You're so much braver ♪

♪ Than I gave you credit for ♪

♪ That's not lip service ♪

♪ You've already won me over ♪

♪ In spite of me ♪

♪ And don't be alarmed
if I fall ♪

♪ Head over feet ♪

♪ And don't be surprised
if I love you ♪

♪ For all that you are ♪

♪ I couldn't help it ♪

♪ It's all your fault ♪

♪ You are the bearer ♪

♪ Of unconditional things ♪

♪ You held your breath ♪

♪ And the door for me ♪

♪ Thanks for your patience ♪