In the film, Ms Jett considers her appeal to both men and women in blunt terms: “Oh my God, she’s going to take me home and fuck the shit out of me.” A string of records, often cover versions, followed-“Bad Reputation”, “I Love Rock’n’Roll”, “Do You Wanna Touch Me?”, “I Hate Myself For Loving You”-that sounded so complete you couldn’t understand why no one had made them before.
His ear for a tune and for what made a hit record combined with Ms Jett’s desire for toughness. Mr Laguna loved melodies and hooks so obvious that even the most stupid fish might look twice before biting. Ms Jett, who became a musician because she couldn’t understand why women who loved aggressive, loud guitars should only be allowed to express that love by becoming a groupie, favoured gravel and grit. It was also that their particular tastes and skills were perfectly complementary. It wasn’t just that two people in need of something or someone to revive them found each other. Ms Jett is lost after the Runaways have burned out Mr Laguna is casting around for some means of resurrecting himself a decade after his heyday as a teenage hitmaking prodigy, writing bubblegum songs for the manufactured groups of the late 1960s. Mr Laguna enters the film around a third of the way through. It reveals the close platonic relationship between Ms Jett and Kenny Laguna, notionally her producer, but also a kind of surrogate for any other role she might seem to need: parent, best friend, brother big or little, confidant, factotum. But at its heart, “Bad Reputation” is an unusual love story. It explores her solo career, in which she dared anyone to say that women did not rock as hard as men.
It demonstrates, through archival footage and interviews, how the American musician prefigured punk with her teenage girl band the Runaways in the late 1970s. “BAD REPUTATION”, a new documentary about Joan Jett, covers the expected ground.
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