With a new memoir 20 years after breakout hit ‘Leave (Get Out),’ JoJo is back in control
In reflecting upon JoJo Levesque’s journey, I find myself captivated by her resilience and adaptability. Born as an only child, she grappled with the lack of parental guidance that might have spared some growing pains. However, this experience seems to have instilled in her a unique empathy and desire to help others navigate their own paths.
For quite some time, Joanna “JoJo” Levesque felt resentful towards her hit single, “Leave (Get Out),” which was released in 2004 when she was only 13 years old. In her memoir, “Over the Influence,” she expresses this as, “This song was Disney Channel-ish crap.” Despite being a perfect fit for the family-friendly audience that the Disney Channel catered to, Levesque viewed herself as a mature R&B and soul singer, genres she had been deeply involved in prior to the release of her self-titled debut album.
Now, I find it appealing; previously, though, I simply didn’t understand it,” explained Levesque during our video chat from her NY apartment.
As a grown-up, singing breakup or relationship songs like ‘Leave (Get Out),’ ‘Too Little Too Late,’ or ‘Disaster’ offers a completely distinct emotional experience compared to when you were younger, say 12, 15, or 20. With age comes additional depth and personal experience that brings more authenticity to the performance. It’s the contrast between simply going through the motions and truly living the song. When I sing these songs now, I can vividly imagine the person I’m addressing, and draw upon memories of difficult experiences like telling someone to leave my home, which adds a layer of authenticity to the performance.
Beyond being just a fleeting success, Levesque has consistently been active in her career since her initial single release, showcasing her talents as both a singer and an actor across films like “Aquamarine” and “G.B.F.”, and the series “All American”. It’s true that her music career did not surpass the success of “Leave (Get Out)”, which propelled her to become the youngest female solo artist to top the Billboard Pop Songs chart, mainly due to a protracted legal dispute with her label Blackground.
In the year 2013, Levesque initiated a legal action against Blackground Records with the aim to terminate her contract, as it was signed when she was still a minor and under New York state law, it should have expired after seven years. However, due to this contractual obligation, she couldn’t release albums as planned. Instead, she opted for releasing mixtapes and “tringles” (sets of three singles) as an alternative. Eventually, both parties managed to reach a settlement outside of court. Unfortunately, Levesque encountered similar creative disputes at her subsequent label, Atlantic Records.
Levesque notes that everyone seemed eager to share their thoughts on what he should do, making it feel like every Joe Blow had an opinion. His initial plan has become so blurred over time, he can hardly recall what it was.
In 2017, she achieved self-reliance by initiating Clover Music, a partnership with Warner Records, marking the start of her own music label.
Prior to Taylor Swift’s decision to re-record her albums in 2021 following a change in ownership due to Scott Borchetta, the CEO of her previous label Big Machine, selling her master recordings to music manager Scooter Braun, Levesque started re-recording her own albums back in 2018.
She mentioned that it was a personal matter between her and her fans, allowing her to experience a sense of empowerment when her music wasn’t accessible on streaming platforms because her record label hadn’t negotiated deals with the digital providers. Essentially, she was tired of feeling like events were happening to her instead of her being in charge.
Despite having a friendly phase during Swift’s “squad” period, Swift didn’t seek advice from Levesque about her “Taylor’s Versions” re-recording project. However, Levesque acknowledges that she did this several years prior, and she appreciates those who recognized it.
As a movie lover, I’ve always felt drawn to follow the journey of Levesque, a fellow artist who’s grappled with power struggles throughout her professional and personal life. The title of her memoir, “Over the Influence,” carries a profound duality. On one hand, it signifies her struggle with intergenerational trauma – her parents crossed paths at an Alcoholics Anonymous meeting, and her father, Joel, succumbed to drug addiction complications in 2015. Despite expressing concern about appearing judgmental towards her parents, Levesque’s account is anything but. Instead, she paints a profoundly empathetic picture – not just of her own journey, but of our shared story. This narrative is powerfully reinforced by her meticulously kept life journals. Reflecting on her past, Levesque admits, “It was enlightening to realize the aspects of my life I thought I’d conquered that still lingered.
Additionally, she shared many profound and significant discussions with her mother, Diana, who aided Levesque in completing gaps in her recollections of her own childhood experiences and the initial stages of her parents’ relationship. “I appreciate that she was willing to delve into those memories with me,” expresses Levesque.
As a child star, Levesque could have easily encountered much more adversity, but as she pens in “Over the Influence,” set for release on Tuesday, she expresses her relief by saying something along the lines of, “I think I managed to avoid a disastrous situation.” After watching documentaries and listening to podcasts, she exclaims, “Wow, that could have been me!
Levesque’s mother served as her initial manager, hesitant yet protective, keeping much of it at bay. While some may view “momagers” negatively, Levesque clarifies that she wasn’t coerced into chasing fame in early childhood. Instead, she expresses a desire for a different life compared to the one she and her mother shared, believing that she could be the one to bring about change. However, that was quite a burden for someone so young.
Reflecting on her past, she admits, “She made efforts to keep my ego in check, but from an early age, I was seldom told ‘no.’ This may have fostered a sense of entitlement that could be harmful. It gave me a skewed perspective of the world. As an only child, I was constantly praised for being great and talented, which made me feel deserving of special privileges. Eventually, I became famous.” Now, looking back, she realizes, “I could have avoided some growing pains if I had received more guidance from my parents.
The second allusion in the book’s title is to the freedom to determine her own career path.
Throughout most of my life, I’ve often found myself shaped by others’ expectations about what I should desire and value – whether it’s achieving the same level of success I experienced in my teenage years or reaching even greater heights,” she explains.
She expresses her heartfelt thanks for [“Leaving (Departure)”], as it has led her to live a life that brings her immense joy. Later on, she further mentions…
She will also reprise her role as Satine in the Broadway adaptation of “Moulin Rouge!”, sharing the stage with Aaron Tveit.
“Her voice is very moving to me,” Tviet says. “There’s so much emotion conveyed by [it].”
2023 saw Levesque’s first appearance on Broadway as Satine, having utilized the pandemic shutdown to sing show tunes together with her mother. She finds solace and flourishes in the routine and consistency provided by musical theater.
Growing up, I didn’t have much of it. Instead, I was constantly exploring new places, meeting various individuals, and moving frequently,” she explains. “Now, as a grown-up with an inner child, I aim to provide her with the stability that she may not have experienced.
Levesque, who used to act and sing in musical theater when she was young, is now finding new inspiration from the blending of singing and acting that Broadway offers. “It’s a truly thrilling period for me,” she notes, explaining that her various passions can effortlessly overlap during this time. She shares that she spends her days developing an original musical, while performing as Satine in the evenings.
Tviet notes, “It’s not for the feint-hearted,” but he believes she possesses a wealth of talents suitable for musical theater.
Following their farewell performance on October 13, Levesque will embark on a tour and release new music, guided by her co-manager Randy Jackson – the same Randy Jackson. Interestingly, they first connected in 2021 when Levesque competed on “Name That Tune,” where Jackson is the bandleader for the Fox game show. However, their paths crossed years prior when Levesque was just starting her career. At that time, Jackson showed interest in signing her to his record label.
Levesque remarks that Jackson intrigues him due to his extended involvement in certain activities. While I’ve been engaged for a considerable period, there are individuals who have been active much longer, and I’m curious – what strategies do you employ to preserve personal connections, how do you cultivate professional relationships?
Jackson refers to Levesque as an “all-rounder” with skills in music, film, and theater. He emphasizes that admiration for the individual’s character is crucial before considering their talent.
In the music video for “Over the Influence,” the charismatic young woman who was featured in “Leave (Get Out)” is prominently showcased. Levesque has taken on this role as a sort of quirky, beloved mentor figure to her fans and others in the industry, similar to an “eccentric auntie.
She mentions that since she’s an only child, she doesn’t have any nieces or nephews, but she feels she can assist others in some way. She expresses her desire to contribute and share whatever she has to offer.
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2024-09-12 13:34