Janis Ian keeps a sign above her workspace at home, a North Star that guides her after more than five decades as a revered songwriter who dares to say what no one else will.
“Do not be held hostage by your legacy.”
When you’ve written, starting at age 14, some of pop music’s most evergreen songs — “Society’s Child,” “At Seventeen,” “Jesse,” and “Stars,” among them — it’s no wonder she’d need a reminder to shake free of our expectations.
Now, at 70, Ian is embracing a new milestone: the art of the farewell. Set for release on January 21, 2022 on her own Rude Girl Records, The Light at the End of the Line is Ian’s latest and last solo studio album to bookend a kaleidoscopic catalog that began with her 1967 self-titled debut.
Ian says, “It takes a certain amount of maturity to realize that you don’t have to keep proving you can write. I’ve already created a body of work I’m proud of, and I’m old enough to realize that it’s the light at the end of the line that matters. And I’m not calling this retiring. It’s rewiring.”
As her first album of new material in 15 years, The Light at the End of the Line also sets the stage for what Ian imagines is her final North American tour in 2022.
Janis IanPeter Cunningham
Let’s be frank: It’s a bittersweet moment for fans who have stuck with her from the very beginning. At once familiar and poignant, these 12 new songs present Ian in miniature. They’re intimate portraits of getting older but wiser (“I’m Still Standing”), of knowing when to stand up and not take any more shit (“Resist”), of celebrating life’s fleeting beauty (“Swannanoa”), of exalting in your true identity (“Perfect Little Girl”), of paying homage to a lifelong hero and her demons (“Nina,” as in Simone).
Her original idea was to name the tour “The End of the Line” and write a song around it, but that felt too bleak. Instead, she says, “I wanted to write about the result of all these years. As part of that, I’ll change it to ‘The Light at the End of the Line’ and write a more adult version of ‘Stars’ to go with it.” From 1973, “Stars” was often called Ian’s “comeback song” and was covered by Nina Simone, Cher, Mel Tormé, and a host of other artists who felt the song spoke to their own lives. “As I wrote ‘The Light at the End of the Line,’ I realized that it’s really a love song. I didn’t understand that so many years of meeting my audience after shows, of corresponding with them, had created this very real relationship that few artists are privileged to have.”
There’s a moment on every Janis Ian album that parts your hair, upends your ideas about her comfort zone. Her latest is full of surprises. She strikes a triumphant tone on the opening “I’m Still Standing”:
See these lines on my face?
They’re a map of where I’ve been
And the deeper they are traced,
the deeper life has settled in
How do we survive living out our lives?
It took Ian nearly three years to whip “Resist” into shape with help from longtime production collaborator Randy Leago. It was worth the wait. A call to arms, it’s a curveball of cacophonous sounds — wailing electric guitars, clanging percussion, feral saxophone — that culminates with Ian rapping about how women are torn down and stripped of their agency.
“Her music is serious but still full of beauty,” says Leago, who co-produced the song and played throughout the album. “I’ve worked with wonderful singers and songwriters and instrumentalists — and Janis is all of that. The sheer honesty of her work is really what shines through.”
Indeed, The Light at the End of the Line feels like a victory lap for an artist who has nothing to lose, and nothing left to prove. You hear that in the risks Ian took in both her lyrics and the inspired production choices.
Ian, who’s fond of saying she doesn’t sing the notes but rather the space between the notes, is at her most primal as a vocalist here. Every note, every cadence, every beat is in the perfect place. She sounds unvarnished yet luminous, as expressive as when she was that young woman delivering “Stars” on late-night TV as if she were beaming in from a cosmic plane. (Google her 1974 live performance on “The Old Grey Whistle Test.”)
Enlisting bassist Viktor Krauss and an all-star cast of supporting musicians (Vince Gill, Diane Schuur, Sam Bush), Ian sends us out on a hopeful note with “Better Times Will Come.” A crash course in American roots music, the joyous coda veers from Appalachian hoedown to New Orleans second-line parade to serious rock shredding.
If The Light at the End of the Line ends up being Ian’s swan song, it’s as graceful an exit as fans could want.
“I love this album,” she says. “There is an element of, ‘This is the absolute best I can do over the span of 58 years as a writer. This is what I’ve learned. And I realized that this album has an arc, and I’ve never really done anything like that before.”
As Ian reflects on a career with its share of hits and misses, it’s startling to realize how urgent and out of time her most fearless work remains. We’re still having the same conversations around race and racism that Ian ignited in 1966’s “Society’s Child,” her teenage ode to a white woman who brings home a black boyfriend. It was so incendiary that it got banned from radio and led to death threats and public ridicule that scarred its songwriter until she finally untangled the trauma in therapy.
In the age of social media, 1975’s “At Seventeen” (from her landmark album Between the Lines) is perhaps more resonant than ever as a meditation on feeling isolated and ostracized.
“It’s a piece of luck when you can hit on a universal theme like ‘At Seventeen,’” she says. “It’s what you strive for as a writer. I’m astonished that the song has lived this long, but I’m also horrified that it, and ‘Society’s Child,’ are both still so relevant. I would have hoped that by now so many things would be better.”
Janis Ian - At Seventeen (Live, 1976) youtu.be
Ian has taken a circuitous path ever since then, scoring nine Grammy Award nominations and two wins (in 1976 for best pop vocal performance-female for “At Seventeen” and in 2013 for best spoken-word album for “Society’s Child: My Autobiography”).
Along the way, she has been a columnist and a ringleader of a lively online fan community. She’s dabbled in science-fiction writing (squint and you’ll see her pal George R.R. Martin, the “Game of Thrones” mastermind, in photos from her 2003 wedding to her wife, Pat). And for the past several years Ian has been devoted to her philanthropic endeavors, the Pearl Foundation and the Better Times Project.
If there has been any common thread, it’s this: Ian has always been down for the ride. “The journey has always been more interesting to me than wherever I end up,” she says.
Which brings us back to that sign above her desk.
“The idea of not being held hostage by your legacy lets you move forward. You don’t have to be held hostage to those memories,” Ian says. “You have to acknowledge them, but you don’t have to stay there. And I never have.”
This article was supplied courtesy of the artist's press page.
SOUTHWEST TOUR DATES
Regardless of local or venue rules, audience members are required to provide proof of vaccination, or proof of a negative PCR test taken within 72 hours of attending the show. You must remain masked at all times while in the theater. You will be refused entry if you cannot produce proof of vaccination or a negative PCR test. You will be told to leave if you remove your mask. This is for your safety, and that of Janis and her crew. Please respect the artist and abide by the rules!
FEBRUARY 24, 2022
Jean Cocteau Cinema - *Break-in Show* Sante Fe, NM
FEBRUARY 25, 2022
Jean Cocteau Cinema - *Break-in Show* Sante Fe, NM
FEBRUARY 26, 2022
Jean Cocteau Cinema - *Break-in Show* Sante Fe, NM
FEBRUARY 27, 2022
Jean Cocteau Cinema - Master Class Sante Fe, NM
MARCH 3, 2022
Rialto Theater Tucson, AZ Rialto Theater
MARCH 4, 2022
Phoenix, AZ Musical Instrument Museum
Full info and more tour dates here.
Michael Feinstein
Michael Feinstein has become an iconic singer of the modern era. He has entertained audiences and world leaders alike with his jazz standards. Recently he began working with Liza Minnelli to produce a unique stage show that celebrates her mother, Judy Garland's, 100th birthday.
Mr. Feinstein took time out of his busy schedule to answer some questions and give us some insight into his creative process, the future of jazz, and the production of this one-of-a-kind show.
Why do you feel the classics still resonate today?
One of the things I love about the music that I primarily sing is that the songs transcend the time in which they were created. They truly are timeless in the sense that they still have incredible power and energy in what they convey to audiences. I always compare them to the timelessness of William Shakespeare or Beethoven or Michelangelo in that people don't experience any of those things and say they're old.
They still resonate with the heart and they have a contemporary sensibility because certain fundamental emotions are forever. The songs that I sing are so amazingly crafted that they're malleable and they can be performed and sung and may any different ways. And that's one of the reasons they survive because they're just adaptable.
And that's one of the fun things about it. Every time I sing one of these songs, it feels fresh to me. And I also know that there are maybe people in the audience who've never heard these songs before. So I'm mindful of trying to present them in their best suit. If you will.
Did Judy Garland influence you more when you were a kid or as an adult?
Judy Garland, what an amazing person; incredible performer. As a child, like most of my generation, anyway, I first became aware of Judy Garland in connection with the 'Wizard of Oz.' That movie was shown every year as an annual event on television. And we would always go to my aunt and uncle's house and watch it there because they had a color television. But the true art of Judy Garland was introduced to me later in my life, when I became aware of her many recordings and other films that she made at MGM, and she had two distinct careers. One was the 28 feature films she made at MGM from 1937 until she was unceremoniously fired by them in 1950.
Then there was her adult concert career from 1951 to 1969. In that period, she performed over 1100 concerts and made classic record albums. And that's such a rich period of American culture and also music. And so the show that I'm doing is a true celebration of the extraordinary joy she brought to her and the pathos and the sadness that's conveyed through the way she sang ballots. It's a multimedia celebration with home movies supplied by the family, a rare recording of hers singing acapella. And I accompany her on the piano that I actually discovered of a song no one had ever heard her sing before. So it's a, a rich program."
In your opinion, has jazz fallen by the wayside in contemporary music, or is it just reserved for a more distinguished crowd?
I think jazz falls into the same category as American popular song, the classic American popular song in that it will always survive, it will always have an audience and perhaps it's more specialized today, but it's the kind of music that people discover when they're a little bit older and then it becomes a permanent part of what they listen to.
Are there any modern songwriters who you feel could be as prolific as Mr. Gershwin?
Well, uh, I believe that Bob Dylan is incredibly prolific. There are many other songwriters who have a work ethic that produces a lot of material. Diane Warren, I'm told, writes every single day, The songwriter Michel Legrand composed, well over 200 film scores as he composed every day. So there are probably songwriters who wrote more than Gerwin, but will their songs be heard in a hundred years as widely as George Gershwins? That I don't know the answer to.
Do you think the best songs are written when the world is in turmoil or when it's more at peace?
Music always reflects the time in which it is created. Uh, if you look at the songs of world war II, the were lots of songs of patriotism that were very, um, what's the word --- jingoistic. Things like, 'Johnny get your gun, get your gun, get your gun.' All these songs about fighting for what's right. And those songs have not lived as long as the love songs that were written in that time.
For example, 'White Christmas' was written at a time when the world was just entering the second world war and that song has lived, and the patriotic songs, uh, have not worn well, even though the sentiment is there. They were very much of their time. I think that there is a certain kind of inspiration that comes out of turmoil. A lot of songs written during the American depression have become lasting standards.
Things like "As Time Goes By.' That was later featured in the movie 'Casablanca' and that sort of thing. So I think that good songs can be written in any time, but perhaps there's more, uh, passion conveyed when there are problems in the world,
Does music constantly play in my subconscious?
Absolutely. Yes. Music is always playing in my brain and that doesn't bother me because sometimes it's music. I know, and sometimes it's new music. That's how I, I come up with the idea for a tune. My friend, George Firth, who died a number of years ago was a brilliant librettist. He wrote the book for the Sondheim shows 'Merrily, We Roll Along,' and company. And he once said that anything that you're whistling or humming in your brain is a subconscious window to what one is really thinking about or what they're really feeling.
So if he ever heard anybody humming or whistling, he would say, what are you singing? What are you humming? He wanted to know the title of the song, because that was his armchair psychoanalysis of what that person was, was going through.
What will the audiences be treated to at the Scottsdale show?
Well, it's a centennial tribute to Judy Garland. And as I mentioned previously, it's multimedia with photographs that have never been seen before, this incredible home recording of Judy Garland, which I found in a house that she once lived in behind a fake wall.
It's just a weird story. Uh, so I'll be accompanying her in this song. So it's a world premiere of Judy Garland singing something that nobody's ever heard before. And I also sing a couple of things that were written for her that never saw the light of day.
And then a lot of familiar things. It's a celebration of the best of her MGM years, and then the concert years, the iconic Carnegie Hall show, and it's a very immersive experience, both, visually and emotionally. The audience reaction has been, spectacular, and I'm very grateful. The enormity of trying to pay tribute to someone with a career, as large as Judy Garland's certainly was not easy, but I feel like we've nailed it.
I had a team of people who helped to put it together, notably, Judy Garland's daughter, Liza Minnelli, who executive produced the show and was very much influential in helping to shape what it's about. It celebrates the incredible art that she gave all of us. It doesn't delve into the tragedy because that's the tabloid stuff. But the reason people remember her at all is because of the talent. And so that's what I celebrate.
Thank you.
Show & Venue details:
Valley audience members can join Feinstein for this celebration of Judy Garland at Scottsdale Center for the Performing Arts, 7380 E. 2nd St., Scottsdale, Arizona. There will be two concerts at 3 pm and 7 pm on Sunday, March 20, 2022. Tickets start at $79. For information click here or visit or call 480-499-TKTS (8587).
All guests age 12 and older must provide a negative COVID-19 PCR test, taken within 72 hours of the performance date, along with photo ID, to attend performances. As an alternative, guests may provide proof of full vaccination. Masks are highly encouraged to protect artists, staff and patrons. For full health and safety protocols click here.
- Michael Feinstein to Share Gershwins' Legacy in Song - OutVoices ›
- Michael Feinstein to celebrate Judy Garland at Scottsdale Arts ... ›
Michael Feinstein will commemorate Judy Garland’s life on March 20 at Scottsdale Center for the Performing Arts.
Musical icon Michael Feinstein is coming to Scottsdale, Arizona on Sunday, March 20, 2022. His smooth voice and playlist of American standards will soothe audiences of all ages in this special live performance. Feinstein is known for having worked with George and Ira Gershwin, two of the most prolific songwriters in history.
His appearance in Scottsdale will pay tribute to another of entertainment's most iconic voices: Judy Garland. The actress and singer would have celebrated her 100th birthday this year. Her music still lives on in the hearts of millions.
Concert is Executive Produced by Liza Minnelli
Audiences are invited to join a nostalgic and spectacular musical exploration of Garland’s illustrious career. Executive produced by Liza Minnelli, this performance will be packed with special surprise moments as Feinstein honors Garland’s unparalleled talent and charisma.
This brand-new multimedia show features big screen film clips, never-before-seen photos, rare audio recordings, great music and good humor. Feinstein will lead you on a historical journey through Garland’s amazing life, telling stories he learned from Minnelli — Garland’s daughter — and from the legend’s close friends.
Audiences will be treated to recently discovered and previously unheard musical arrangements while gaining rare insight into the enduring Garland mystique.
“We couldn’t pass up the opportunity to celebrate the iconic Judy Garland on her 100th birthday, especially knowing the authenticity and love that went into this project with her daughter Liza Minnelli as the executive producer,” said Abbey Messmer, programming director at the center. “With the Ambassador of the American Songbook leading this journey, it’s certain that we’ll feel Judy’s spirit when we hear songs like ‘Get Happy’ and ‘Come Rain or Come Shine.’”
Photo courtesy of Michael Feinstein.
The Great American Songbook
Feinstein has built a dazzling career over the last three decades, bringing the music of the Great American Songbook to the world. From his multi-platinum-selling recordings that have earned him five Grammy nominations to his Emmy-nominated PBS television specials, his acclaimed NPR series and concerts spanning the globe.
Feinstein's New Album to Feature Music Icons
His live performances, film and television appearances, and 35 albums — including the upcoming release of “Gershwin Country,” featuring duets with country superstars like Dolly Parton, Brad Paisley, Vince Gill, Lyle Lovett, Alison Krauss and more — have made Feinstein an all-star force in American music.
Valley audience members can join Feinstein for this celebration of Judy Garland at Scottsdale Center for the Performing Arts, 7380 E. 2nd St., Scottsdale, Arizona. There will be two concerts at 3 pm and 7 pm on Sunday, March 20, 2022. Tickets start at $79. For information click here or visit or call 480-499-TKTS (8587).
All guests age 12 and older must provide a negative COVID-19 PCR test, taken within 72 hours of the performance date, along with photo ID, to attend performances. As an alternative, guests may provide proof of full vaccination. Masks are highly encouraged to protect artists, staff and patrons. For full health and safety protocols click here.
I think it’s fair to say we all want that #fitlife, especially with Spring around the corner — as well as Gaypril on the way. Whether it’s pool season yet or not, everyone would choose to look fit over not looking fit, if they could have it with a snap of their fingers. OK, the vast majority of us would.
If you’ve met me, or have been reading my articles, you know that I live, sleep, eat and breathe fitness; it’s my heart and soul. That being said, I’m here to tell you that the concept of “fitness” is oftentimes tragically misunderstood.
Before you get too aggressive with your goal for pool season, let’s dive a bit deeper into what fitness means on the inside versus what it looks like on the outside, and common misconceptions around this concept.
1. Beware of the cultural pitfalls and misleading information around fitness.
Most of the bodies you see in the media are probably not real, they just look very convincing. As a trainer who also moonlights as a photographer and Photoshop wizard, I’m telling you that it is incredibly easy to alter pictures in materially misleading ways. Once you know the tricks of the trade, the imposters are easily spotted. But that’s not what this is about.
The point is: to the untrained eye, it can be devastatingly defeating to see such impossible standards. It seems as though the cultural pressure to look a certain way, to look perfect, has spread all the way from runway models to fitness novices with the help of smartphone apps.
The truth is that we fitness models look that cut, and that lean for only a couple days at a time. That’s it! In many cases, months or even close to a year of training, dieting and programming all go into looking like that for ONE day. Let that sink in for a second. Day to day, I am less cut, less tan and much flatter muscularly than what you see in some of my pictures. That’s just the nature of the beast. So, when you have a bad day on the scale, in the mirror or in any other scenario, remember that we’re all human and that the most legitimate photos you’re comparing yourself against were from someone’s very best day. That should help to keep things in perspective.
2. Most people want the results, without actually doing the work.
Fitness is not six pack abs, it’s not superficial, it is not temporary and it’s not an isolated phase in your life. Further, fitness is not something you do for someone else, do to spite someone else or even to impress someone else.
Fitness is confidence, toughness, dedication, coordination, power, balance, speed, strength (both literally and figuratively) and persistence in the face of all obstacles. This includes control over your attitude, your mood, your sleep, your schedule, your diet and other aspects of your life. This means getting that workout in when you least feel like it.
It’s not easy, and it’s definitely a grind that has good and bad days. You must show up and keep working on the days you’re tired, stressed, rushed, defeated, doubtful, afraid and so on. The days you actually have to overcome something instead of just checking your workout off your to-do list are the days you have the greatest opportunity to really make progress, push your body and see the most improvement.
3. Fitness is really an internal mindset. The external physique is the fringe benefit.
I’ve said this time and time again, and it might sound strange coming from such an aesthetic-focused trainer, but you are not your body. Your body is a tool, it’s a means to an end, to express your internal mindset, belief system, discipline and dedication to your workout program. Your physique will come and go. Your strength will come and go. Your abilities will wax and wane depending on what you’re training for at the time.
The outside will, and should, be always changing, but the inside is what we’re really after here. Good trainers want to train you to believe in yourself when sh*t gets hard. We want to train you to be resilient in the face of injury, obstacles and other setbacks. We want you to set ambitious goals and shoot for the moon because you can get there with smart programming and relentless will (do yourself a favor and ditch the crash diets and the photo editing software).
So, as you make your spring preparations for swimsuit season, try focusing on developing a sterling, unshakeable internal character and the muscles will come along the way, this I promise you.