Joanna ‘JoJo’ Levesque Is No Longer Compromising

As a long-time fan and admirer of JoJo, I wholeheartedly agree with her sentiments regarding artist ownership of their masters. It’s high time that the music industry undergoes a much-needed transformation, shedding its Wild West ways and moving towards fairer practices for those who create the magic we all enjoy.

From the 2000s, JoJo was a prominent figure in popular culture. Following her first record deal in 2003, her debut single “Leave (Get Out)” quickly climbed the Billboard charts. By 2006, she had released two studio albums – “JoJo” and “The High Road,” with the latter containing her second massive hit, “Too Little Too Late.” During this period, she also starred in two major films, “Aquamarine” and “RV.” The singer, Joanna Levesque, performed alongside Usher, appeared on award shows, and was a regular guest on MTV’s Total Request Live. It’s hard to discuss 2000s pop culture without mentioning the significant impact of JoJo.

Despite her rapid ascent to fame, Levesque’s commercial success took an abrupt turn when disagreements at Blackground Records stalled her progress for almost a decade. According to Levesque, Blackground was unable to secure distribution deals, making it impossible for them to release another official album under their label indefinitely. This left her in a state of artistic suspension, only able to put out music independently. However, a successful lawsuit against Blackground in 2013 enabled her to depart from the label and sign with Atlantic Records. At long last, in 2016, Levesque released her much-anticipated third studio album titled “Mad Love“.

Reflecting on the years spent pursuing her career, Levesque admits that she seldom took moments for introspection or emotion. Now, at 33, she is seizing the opportunity to catch up on lost time. In her upcoming memoir, Over the Influence, set for release on September 17, she shares intimate insights into both her personal and professional life with a sense of openness and honesty. Levesque leaves nothing out when describing her struggles with substance abuse, addiction experiences, and the extreme measures she took to cope with her record label issues, as well as her journey towards self-discovery in adulthood.

She expresses her hope that by disclosing some aspects of her life thus far, others might find the motivation to delve into their own experiences as well. After all, there are many valuable and rewarding discoveries to be made within oneself.

TIME had a conversation with Levesque regarding penning “Over The Influence” independently, the pleasures of solitary slumber, and what artistic domain she intends to dominate in the future.

TIME: You’re a few days away from being a published author. How are you feeling?

Levesque: That’s absolutely incredible! I wouldn’t have guessed this for spot number 33, but I’m overjoyed. There’s an abundance of joy, excitement, and gratitude within me, knowing I can share my story with the world. I truly hope it resonates with people, stirring emotions in them.

You wrote this memoir entirely on your own. Why was it important for you to do this without a ghostwriter?

I prefer memoirs and nonfiction; therefore, some of my beloved books are co-authored or ghostwritten. The additional insight from these collaborations can be incredibly valuable, yet I wanted to try writing on my own. I believe that my unique voice and viewpoint are sufficient.

From my childhood, I was taught to depend on others for decision-making, shaping my narrative, or making me more palatable or acceptable. However, I’m no longer pursuing conventional success. Instead, I yearn to be authentic and connect with others who are also working towards peeling away layers of doubt and embarrassment they’ve gathered along the way.

You mentioned in your author’s note that it was a little mortifying to dredge up some of the experiences you were writing about. You included stories about using alcohol and weed to stay intoxicated as often as possible, spending nights out “smooching strangers” in clubs, and even being unfaithful in a former relationship. It felt like I was reading entries from your diary. How did you find the courage to share your stories in this way?

By acknowledging our inherent nature as narrators, having spun tales since the dawn of time, a part of me often wonders if it’s necessary to reveal more about myself. Yet, I am convinced that when we openly and honestly express ourselves, this can stimulate personal growth and inspire others in similar ways. Let me remind myself that my narrative holds equal importance as anyone else’s.

What do you hope readers will take away from your experiences with addiction?

Raised under the belief that I wouldn’t follow in my parents’ footsteps, who considered themselves addicts, I held a sense of self-righteousness, convinced I was above such struggles. However, a remark my father made when I turned 21 has stayed with me: “Addiction is like Arnold Schwarzenegger in your backyard pumping iron, always waiting for you.” This led me to delve into the topic of addiction and its implications, which is something I find intriguing to discuss.

Addiction, in my view, isn’t confined to a single aspect. It often involves filling an emptiness within oneself and striving to experience something beyond one’s self to feel content. It can manifest as the pursuit of other substances, relationships, experiences, validation, food – essentially anything that serves as an escape or a temporary solution when one feels inadequate. It’s essential to remember that addiction isn’t always about being dependent on a specific substance; it can be more complex than that.

It does feel like the idea of being addicted to sex and love isn’t discussed as often, but you wrote that, at one point in your life, “being desired was like a drug.” What’s your relationship with the need to feel desired or validated today?

I try to check in with myself and see what I’m doing a bit too much of, or where I’m feeling a pull towards something. I just ask myself, why do I feel like I need this? I also took a year off of dating just to really sit with myself. I was so used to having a romantic interest, or having someone to think about, or to text with, or to occupy my time. What happens when I don’t have that? It’s been a really important experience for me, because as much as I thought I liked being alone, I realized that I still did rely on feeling that romantic validation. Taking it off the table has been a good little journey for me.

I think a lot of people are scared to do that, but it’s really powerful to be able to sit and connect with yourself in that way.

As I grow older, I find myself becoming less willing to compromise. With age, my preference for shallow connections with strangers seems to dwindle, as I become more discerning and selective about the people I choose to engage with. This refinement in my social circle is a fortunate development.

Agreed. If someone’s not going to add any value to my life, what’s the point?

I know. And it feels kind of good to have the whole bed to myself.

I was shocked to read that you were upset with your label’s decision to release “Leave (Get Out)” as your first single. How do you feel about the song now?

In truth, I never envisioned myself as a pop singer; the idea felt distinct from the music I was producing. If you revisit my debut album, you’ll notice a strong influence from hip-hop and R&B, with “Leave” being somewhat of an exception. This disparity left me puzzled, which in turn stirred up a great deal of uncertainty in my life. However, I am profoundly thankful for that song, as I feel incredibly blessed to have been the conduit for its creation. When others began expressing their love for the song, I realized my initial assumptions were misguided. Yet, this experience instilled in me a habit of second-guessing myself and my instincts.

You re-recorded your first two albums in 2018. The conversation around this practice has become a lot more mainstream, thanks to Taylor Swift announcing in 2019 that she’d be re-recording her discography after a public battle with Scooter Braun over her masters. Billboard reported last year that some labels are now working to make it more difficult for artists to do this—sometimes demanding that they wait up to 30 years after their contract ends to re-record releases. What do you make of that trend?

I’m not overly shocked, though saddened, to learn that record labels might attempt such actions. My tunes weren’t accessible for streaming, and that was solely due to the fact that I re-recorded them. We were brainstorming alternatives as I grew weary of my music being unavailable. I wasn’t certain if this approach would yield results or if it would seem frivolous. Yet, it’s fascinating that this business aspect is now part of a broader discussion, and fans are curious about the inner workings of their beloved artists. It seems the public is increasingly eager to understand the goings-on behind their favorite musicians.

Do you think all artists should own their masters?

Absolutely, my response is affirmative. It ought to be returned to the artist in all instances. Even though a label might finance production, I understand their perspective on owning the masters, but times are changing. The music industry, as currently structured, resembles the Wild West with an excess of greed.

You wrote about how JoJo was a professional moniker chosen for you by a former producer. At this stage in your life, how do you feel about that nickname?

JoJo is an integral piece of my past and the way I was initially recognized by my dedicated fans. Therefore, I’m perfectly comfortable when people refer to me as JoJo. However, at this stage in my life, I identify more with Joanna. This transition brings me closer to who I was before embarking on this extraordinary journey. I draw a comparison to Dwayne “The Rock” Johnson and his full name, so for now, I’m known as Joanna “JoJo” Levesque.

If what most people know about you is based only on what they know about JoJo, the artist, what do you want people to know about you, Joanna, the person?

In my perspective as a moviegoer, I’ve come to embrace the concept of living through different chapters, or seasons, in life. Growing up as a millennial, the ideal of perfection was heavily marketed to us. We were told that we needed to be flawless, or our efforts wouldn’t amount to anything. So, I’m choosing to break free from this mold and simply try. I’m embracing the present moment, accepting that I am exactly where I should be, and that’s good enough.

You’re currently playing the role of Satine in Moulin Rouge! on Broadway. Your circumstances are wildly different, but Satine is a woman whose actions are ultimately being dictated by others. Did you draw on any of your personal experiences when you were first workshopping the character?

Playing Satine didn’t require too much effort on my part because there were many similarities between her and me. She carried a great deal of weight, whether it was self-imposed or genuine, given she was the public face of the Moulin Rouge. She strived to ensure everything would turn out alright, not wanting anyone to fret about her. She was resilient and steadfast in her pursuits, much like myself who also didn’t want others to worry about me, even when I was involved in risky activities or neglecting myself. As a result, I could empathize with Satine’s struggles during the performance. I hold great affection and empathy for her character.

You’ve done everything at this point—music, movies, TV, Broadway, and now a book. Where do you go from here? What’s next for you?

Exciting news! You can expect new music coming up, along with touring performances. Additionally, I’ve been working on creating an original musical production, which is a project close to my heart. I aim to both produce the show and originate a role within it. The world of theater has me absolutely thrilled – it truly invigorates me!

2024-09-14 01:06