From: les@jmdl.com (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2000 #348 Reply-To: joni@smoe.org Sender: les@jmdl.com Errors-To: les@jmdl.com Precedence: bulk Archives: http://www.smoe.org/lists/joni Websites: http://www.jmdl.com http://www.jonimitchell.com Unsubscribe: mailto:joni-digest-request@smoe.org?body=unsubscribe JMDL Digest Thursday, June 22 2000 Volume 2000 : Number 348 The 'Official' Joni Mitchell Homepage, created by Wally Breese, can be found at http://www.jonimitchell.com. It contains the latest news, a detailed bio, Original Interviews, essays, lyrics and much much more. --- The JMDL website can be found at http://www.jmdl.com and contains interviews, articles, the member gallery, archives, and much more. --- Ashara has set up a "Wally Breese Memorial Fund" with all donations going directly towards the upkeep of the website. Wally kept the website going with his own funds. it is now up to US to help Jim continue. If you would like to donate to this fund, please make all checks payable to: Jim Johanson and send them to: Ashara Stansfield P.O. Box 215 Topsfield, MA. 01983 USA ========== TOPICS and authors in this Digest: -------- Welcome (NJC) [Michael Paz ] NJC - The Real Eminem [Murphycopy@aol.com] New Producer [Michael Paz ] Gee Wally (NJC) [Michael Paz ] Eminem (NJC) [AngelinoCoyote@aol.com] RE: NJC - The Real Eminem ["Nikki Johnson" ] Re: joni bashing in downbeat [Seulbzzaj@aol.com] IMDb: Blowup (1966) [relayer211@aol.com] Larry Klein and Joni bashing in Downbeat (now njc) [evian Subject: Welcome (NJC) Stacy wrote: "Hello everyone! I am really excited that I have joined the list. I have been reading a lot of wonderful things from a lot of wonderful people. I had a shy start at first but i think i will be ok. Take Care" Stacy- Welcome and don't be shy. Tell us about your self and where your from etc. And of course the really important question are you a For The Roses person or a Hejira person??? Of course I guess technically you could be a Dog Eat Dog person, but that would make Don/Larry WAY too happy! LOL Have fun here! Michael (in New Orleans) NP-Her Majesty-The Alternate Abbey Road OH MY! ------------------------------ Date: Wed, 21 Jun 2000 23:48:31 EDT From: Murphycopy@aol.com Subject: NJC - The Real Eminem If anyone wants to read the words Eminem fans are listening to, go to: http://my.athenet.net/~maxx204/GetLyrics/Lyrics/Eminem/marshallmatherslp.htm I did a search for his lyrics because the chorus to "The Real Slim Shady" ("Please stand up, please stand up") has been stuck in my brain for weeks now. (I often drive with the radio on "scan" and this song is everywhere on the dial right now.) In addition, AOL has been running an online poll: "Who rocks harder, Christina Aguilera or Eminem?" Slouching towards Bethlehem, indeed... But before we get to "Slim Shady," here are a few lines from "Kill You," a song for his mother. (This is not a joke, all lyrics were cut and pasted from the above site.) I don't know that I've ever read more brutal, misogynistic crap in my life. "Kill You" also includes the following lines: OKAY, I'M READY TO GO PLAY I GOT THE MACHETE FROM O.J. I'M READY TO MAKE EVERYONE'S THROATS ACHE You faggots keep eggin me on til I have you at knifepoint, then you beg me to stop? SHUT UP! Give me your hands and feet I said SHUT UP when I'm talkin to you YOU HEAR ME? ANSWER ME! And now, "The Real Slim Shady..." Artist: Eminem Album: The Marshall Mathers LP Song: The Real Slim Shady Typed by: Ghettofabulous98@hotmail.com, dj.flash@pobox.com [Eminem] May I have your attention please? May I have your attention please? Will the real Slim Shady please stand up? I repeat, will the real Slim Shady please stand up? We're gonna have a problem here.. Y'all act like you never seen a white person before Jaws all on the floor like Pam, like Tommy just burst in the door and started whoopin her ass worse than before they first were divorce, throwin her over furniture (Ahh!) It's the return of the... "Ah, wait, no way, you're kidding, he didn't just say what I think he did, did he?" And Dr. Dre said... nothing you idiots! Dr. Dre's dead, he's locked in my basement! (Ha-ha!) Feminist women love Eminem {*vocal turntable: chigga chigga chigga*} "Slim Shady, I'm sick of him Look at him, walkin around grabbin his you-know-what Flippin the you-know-who," "Yeah, but he's so cute though!" Yeah, I probably got a couple of screws up in my head loose But no worse, than what's goin on in your parents' bedrooms Sometimes, I wanna get on TV and just let loose, but can't but it's cool for Tom Green to hump a dead moose "My bum is on your lips, my bum is on your lips" And if I'm lucky, you might just give it a little kiss And that's the message that we deliver to little kids And expect them not to know what a woman's clitoris is Of course they gonna know what intercourse is By the time they hit fourth grade They got the Discovery Channel don't they? "We ain't nothing but mammals.." Well, some of us cannibals who cut other people open like cantaloupes {*SLURP*} But if we can hump dead animals and antelopes then there's no reason that a man and another man can't elope {*EWWW!*} But if you feel like I feel, I got the antidote Women wave your pantyhose, sing the chorus and it goes Chorus: Eminem (repeat 2X) I'm Slim Shady, yes I'm the real Shady All you other Slim Shadys are just imitating So won't the real Slim Shady please stand up, please stand up, please stand up? [Eminem] Will Smith don't gotta cuss in his raps to sell his records; well I do, so fuck him and fuck you too! You think I give a damn about a Grammy? Half of you critics can't even stomach me, let alone stand me "But Slim, what if you win, wouldn't it be weird?" Why? So you guys could just lie to get me here? So you can, sit me here next to Britney Spears? Shit, Christina Aguilera better switch me chairs so I can sit next to Carson Daly and Fred Durst and hear 'em argue over who she gave head to first You little bitch, put me on blast on MTV "Yeah, he's cute, but I think he's married to Kim, hee-hee!" I should download her audio on MP3 and show the whole world how you gave Eminem VD {*AHHH!*} I'm sick of you little girl and boy groups, all you do is annoy me so I have been sent here to destroy you {*bzzzt*} And there's a million of us just like me who cuss like me; who just don't give a fuck like me who dress like me; walk, talk and act like me and just might be the next best thing but not quite me! Chorus [Eminem] I'm like a head trip to listen to, cause I'm only givin you things you joke about with your friends inside your living room The only difference is I got the balls to say it in front of y'all and I don't gotta be false or sugarcoated at all I just get on the mic and spit it and whether you like to admit it {*ERR*} I just shit it better than ninety percent of you rappers out can Then you wonder how can kids eat up these albums like valiums It's funny; cause at the rate I'm goin when I'm thirty I'll be the only person in the nursin home flirting Pinchin nurses asses when I'm jackin off with Jergens And I'm jerkin but this whole bag of Viagra isn't working And every single person is a Slim Shady lurkin He could be workin at Burger King, spittin on your onion rings {*HACH*} Or in the parkin lot, circling Screaming "I don't give a fuck!" with his windows down and his system up So, will the real Shady please stand up? And put one of those fingers on each hand up? And be proud to be outta your mind and outta control and one more time, loud as you can, how does it go? Chorus 2X [Eminem] Ha ha Guess there's a Slim Shady in all of us Fuck it, let's all stand up ------------------------------ Date: Wed, 21 Jun 2000 22:51:11 -0500 From: Michael Paz Subject: New Producer on 6/21/00 1:27 PM, JMDL Digest at Bob Muller SCJoniGuy@aol.com wrote: > And since I've heard the live stuff, I have to say I'm excited about her next > project, to hear the studio versions of the jazzed-up orchestrated "older" > material. A song like "Judgement of the Moon & Stars" will work well with the > full symphonic enhancement, while "Be Cool" will sound SO much better with a > more subtle accompaniment, letting it swing a bit. I hope she'll be a little > more creative in her coloring of the songs! Less is sometimes more, Joni! And this just in folks.... Bob Muller has been asked to produce Joni's next album. Let's hope his recent "cheese fixation" is not catchy. Love Paz HAHAHAHAHAHAHAHAHAHAHHAHAHAHAHA NP-Carry That Weight (boy this thing is all out of order) ------------------------------ Date: Wed, 21 Jun 2000 23:10:48 -0500 From: Michael Paz Subject: Gee Wally (NJC) Wally wrote: > wally k, writing mail mail mail mail mail mail 100 X's...... Gee Wally, ya coulda just put it in the post. screw the mail thing! Salacious on da Bayou ------------------------------ Date: Thu, 22 Jun 2000 00:26:57 EDT From: AngelinoCoyote@aol.com Subject: Eminem (NJC) I have had an age old rule about getting in the middle of a conflict of opinion between two pals. I met both Vince and Michael in Chicago and have nothing but respect for their opinions. However, I will stretch that rule some since The Advocate came out with an article about Eminem in the issue I received today. I tried going to their home page to download or copy this, but it's not one of their online articles. Later is an attempt at transcribing (please excuse the typos, boys). After hearing it on the radio, I bought the CD, have listened to it many times, and actually like it. But, it's not near my tops of the pops, and I was taken aback by some of the lyrics. Didn't really bother me much Vince, but they did get my attention. Anyway, I thought y'all might be interested in the Advocate's view: Title: A bad rap? By: David White Subheading: Rapper Eminem slings trash about gays (and everybody else) in his lyrics. But should we hate him for it? Let's play the name game. Marshall Mathers is a rapper. His stage name is Eminem. And Eninem's alter ego is Slim Shady. He's three men in one, with an identity as mysterious as his beats are heavy and rhythmically complex. His rhymes are tense, witty, vicious, self-loathing, and horrific. His brutal hip-hop hooliganism has earned unprecedented media attention - both scorn and praise. In response to his May release, The Marshall Mathers LP (Interscope), the Gay and Lesbian Alliance Against Defamation objected to such lyrics as "My words are like a dagger with a jagged edge/That'll stab you in the head whether you are a fag or les...Hate Fags? The answer's yes." Meanwhile Newsweek called Eminem "arguably the most compelling figure in all of pop music." Let's keep playing the name game, or rather, the name-calling game. First, who's he calling faggot? Is it me? You? N'Sync? The suits at the record company? Second, who's doing the calling? Is it Eminem? Slim Shady? Marshall Mathers? All or none of the above? And does the fact that he uses the six letter f word at all on The Marshall Mathers LP make him the enemy? Not quite. In the intro to the above quoted song, "Criminal," Eminem states, "A lot of people think that what I say on record or talk about on a record...if I say that I wanna kill somebody, that I'm actually gonna do it or that I believe in it, well shit. If you believe that, then I'll kill you!" At the songs end, he even adds, "Relax guy! I like gay men!" If he has gay-bashed you or me, then it logically follows that he has also raped his own mother, killed his wife, and murdered his producer, Dr. Dre. If he's to be taken literally, then so is Britney Spears' invitation to "hit me baby, one more time." As if anticipating the reaction to this collection of Halloween masks he hides behind, Eminem taunts, "I am whatever you say I am ," on the track "The Way I Am." What then does Eminem want? He wants to confound, to make good and evil switch places, to drop beats and bombs at the same time. He succeeds on all counts. No regrets, Coyote (Rick) Casa Alegre Hollywood, California I'll be dancin' on a pony keg. ------------------------------ Date: Thu, 22 Jun 2000 00:51:02 -0400 From: "Nikki Johnson" Subject: RE: NJC - The Real Eminem I guess it's so frustrating for me as a writer to see this kind of stuff getting the praise of such a large audience...ugh...interesting to read I never knew the lyrics... Between that dog story and this I think I am gonna go puke now... Nikki "Ever since I was a baby girl the one thing I wanted most in this world was to keep my love alive" ~ Heart > -----Original Message----- > From: owner-joni@jmdl.com [mailto:owner-joni@jmdl.com]On Behalf Of > Murphycopy@aol.com > Sent: Wednesday, June 21, 2000 11:49 PM > To: joni@smoe.org > Subject: NJC - The Real Eminem > > > If anyone wants to read the words Eminem fans are listening to, go to: > > http://my.athenet.net/~maxx204/GetLyrics/Lyrics/Eminem/marshallmat > herslp.htm > > I did a search for his lyrics because the chorus to "The Real Slim Shady" > ("Please stand up, please stand up") has been stuck in my brain for weeks > now. (I often drive with the radio on "scan" and this song is > everywhere on > the dial right now.) > > In addition, AOL has been running an online poll: "Who rocks harder, > Christina Aguilera or Eminem?" Slouching towards Bethlehem, indeed... > > But before we get to "Slim Shady," here are a few lines from > "Kill You," a > song for his mother. (This is not a joke, all lyrics were cut and > pasted from > the above site.) I don't know that I've ever read more brutal, > misogynistic > crap in my life. "Kill You" also includes the following lines: > > OKAY, I'M READY TO GO PLAY > I GOT THE MACHETE FROM O.J. > I'M READY TO MAKE EVERYONE'S THROATS ACHE > You faggots keep eggin me on > til I have you at knifepoint, then you beg me to stop? > SHUT UP! Give me your hands and feet > I said SHUT UP when I'm talkin to you > YOU HEAR ME? ANSWER ME! > > And now, "The Real Slim Shady..." > > Artist: Eminem > Album: The Marshall Mathers LP > Song: The Real Slim Shady > Typed by: Ghettofabulous98@hotmail.com, dj.flash@pobox.com > > [Eminem] > May I have your attention please? > May I have your attention please? > Will the real Slim Shady please stand up? > I repeat, will the real Slim Shady please stand up? > We're gonna have a problem here.. > > Y'all act like you never seen a white person before > Jaws all on the floor like Pam, like Tommy just burst in the door > and started whoopin her ass worse than before > they first were divorce, throwin her over furniture (Ahh!) > It's the return of the... "Ah, wait, no way, you're kidding, > he didn't just say what I think he did, did he?" > And Dr. Dre said... nothing you idiots! > Dr. Dre's dead, he's locked in my basement! (Ha-ha!) > Feminist women love Eminem {*vocal turntable: > chigga chigga chigga*} "Slim Shady, I'm sick of him > Look at him, walkin around grabbin his you-know-what > Flippin the you-know-who," "Yeah, but he's so cute though!" > Yeah, I probably got a couple of screws up in my head loose > But no worse, than what's goin on in your parents' bedrooms > Sometimes, I wanna get on TV and just let loose, but can't > but it's cool for Tom Green to hump a dead moose > "My bum is on your lips, my bum is on your lips" > And if I'm lucky, you might just give it a little kiss > And that's the message that we deliver to little kids > And expect them not to know what a woman's clitoris is > Of course they gonna know what intercourse is > By the time they hit fourth grade > They got the Discovery Channel don't they? > "We ain't nothing but mammals.." Well, some of us cannibals > who cut other people open like cantaloupes {*SLURP*} > But if we can hump dead animals and antelopes > then there's no reason that a man and another man can't elope > {*EWWW!*} But if you feel like I feel, I got the antidote > Women wave your pantyhose, sing the chorus and it goes > > Chorus: Eminem (repeat 2X) > > I'm Slim Shady, yes I'm the real Shady > All you other Slim Shadys are just imitating > So won't the real Slim Shady please stand up, > please stand up, please stand up? > > [Eminem] > Will Smith don't gotta cuss in his raps to sell his records; > well I do, so fuck him and fuck you too! > You think I give a damn about a Grammy? > Half of you critics can't even stomach me, let alone stand me > "But Slim, what if you win, wouldn't it be weird?" > Why? So you guys could just lie to get me here? > So you can, sit me here next to Britney Spears? > Shit, Christina Aguilera better switch me chairs > so I can sit next to Carson Daly and Fred Durst > and hear 'em argue over who she gave head to first > You little bitch, put me on blast on MTV > "Yeah, he's cute, but I think he's married to Kim, hee-hee!" > I should download her audio on MP3 > and show the whole world how you gave Eminem VD {*AHHH!*} > I'm sick of you little girl and boy groups, all you do is annoy me > so I have been sent here to destroy you {*bzzzt*} > And there's a million of us just like me > who cuss like me; who just don't give a fuck like me > who dress like me; walk, talk and act like me > and just might be the next best thing but not quite me! > > Chorus > > [Eminem] > I'm like a head trip to listen to, cause I'm only givin you > things you joke about with your friends inside your living room > The only difference is I got the balls to say it > in front of y'all and I don't gotta be false or sugarcoated at all > I just get on the mic and spit it > and whether you like to admit it {*ERR*} I just shit it > better than ninety percent of you rappers out can > Then you wonder how can kids eat up these albums like valiums > It's funny; cause at the rate I'm goin when I'm thirty > I'll be the only person in the nursin home flirting > Pinchin nurses asses when I'm jackin off with Jergens > And I'm jerkin but this whole bag of Viagra isn't working > And every single person is a Slim Shady lurkin > He could be workin at Burger King, spittin on your onion rings > {*HACH*} Or in the parkin lot, circling > Screaming "I don't give a fuck!" > with his windows down and his system up > So, will the real Shady please stand up? > And put one of those fingers on each hand up? > And be proud to be outta your mind and outta control > and one more time, loud as you can, how does it go? > > Chorus 2X > > [Eminem] > Ha ha > Guess there's a Slim Shady in all of us > Fuck it, let's all stand up > > ------------------------------ Date: Thu, 22 Jun 2000 00:59:49 EDT From: Seulbzzaj@aol.com Subject: Re: joni bashing in downbeat In a message dated 6/21/00 9:36:13 AM Eastern Daylight Time, reubenbell@hotmail.com writes: << BSN, which I adore, has its rough patches. Shamalzy strings, vocal inflections that don't work here and there, etc. I do think its a great record. However, it is not an earth shattering record. I think that some of Joni's more recent stuff (NRH and TI) in particular were much more impressive in general. Compare BSN to a lot of other things, it shines. Compare it to Billie's Lady in Satin, it doesn't. >> Well, I pretty much disagree with everything you've said here. The arrangements are excellent, and the strings are gorgeous - doesn't sound like shmaltz to me. It's rare for a singer's every vocal inflection to be perfect, but Joni is near-perfect on this disc. Her interpretations of these standards in the concert performances I've heard live and on tape are also a revelation - - and I've known all these songs inside and out for at least 25 years. I also think that BSN can be compared to Lady In Satin (and for that matter, Sinatra's Only The Lonely) in terms of it's emotional wallop. Of course, Billie was really dragged down by life to a degree that few have experienced. The pain that she expressed was unbearably real, and many Billie fans think of Lady In Satin as a controversial album - some people think it's her greatest work, while others hate it. I suspect that BSN will also remain controversial among Joni's fans, but I consider it to be possibly her greatest artistic achievement - with Taming The Tiger, Turbulent Indigo and Blue close behind. Am I correct in assuming that the general perception on the list re: TTT, is generally 'not favorable'? The only throwaway tune, to me, is My Best To You, which BTW, would probably become a popular recording by Judy Collins, should she decide to record it. The song really is pretty schmaltzy, though. - Scott ------------------------------ Date: Wed, 21 Jun 2000 22:03:43 -0700 From: relayer211@aol.com Subject: IMDb: Blowup (1966) An Internet Movie Database (www.IMDb.com) page has been sent to you by: relayer211@aol.com. Comment from the sender: Thought you'd be interested in this info at IMDb.com. Enjoy! =============================================================== Summary: A parable about the possible dehumanizing effects of photography... Comment: BLOW-UP is the story of a successful fashion photographer, Thomas (David Hemmings), who, whilst scouting for fresh subjects in a park one afternoon, photographs a mysterious couple in 'flagrante delicto.' Upon returning to his studio loft later that day, he develops the pictures and discovers that he has inadvertently stumbled upon a murder. Antonioni is not interested in the details of the murder itself, as in a typical detective story, but rather with how the protagonist's perception of the world, and his relationship to it, is altered by this event. As a fashion photographer, Thomas is a creator of illusions that define a certain kind of young urban lifestyle and Antonioni's flagrant use of the loud, splashy, attention-grabbing colors of billboard advertising -- a visual association elevated to an unholy apotheosis in his next film, ZABRISKIE POINT (1970) -- brings to the surface the transient sensation and hollow artifice that lies at the heart of all pop culture consumerism. In his previous work, RED DESERT (1964), Antonioni spray-painted both the man-made décor as well as the natural setting as a means of giving concrete expression to the heroine's neurotic state of mind and her ameliorative aestheticizing vision of a world despoiled by technology and pollution. He does the same in BLOW-UP, painting doors, fences, poles, and the façades of entire buildings to emphasize the exhilaration and alienation that characterizes life in a large modern city. Psychedelic colors make the 'real' world of the film seem exaggerated and hyperbolic like a fantastic 'surface' reality, while the 'captured' and reconstructed world of the photographs appears ominously stark, grainy, and documentary-like -- the bare, denuded 'essence' of reality. In the central montage sequence of the film, the camera -- in place of Thomas' eyes -- slowly moves back and forth from one photograph to the next, and likewise, Antonioni cuts back and forth from the pictures to the protagonist looking at them. Since the act of looking at these enhanced images effectively reconstructs an event that the protagonist -- and the audience -- never actually saw with the naked eye in 'real life,' technology is shown to reveal a new surface of the world that is normally hidden from view. Antonioni's own particular brand of phenomenological Neorealism is concerned primarily with the process of seeing through a camera as a way of exposing an ultimate truth, or a lack thereof, that underlies the surface of the world. The curious self-reflexivity of this scene is an epistemological hall of mirrors: Antonioni's camera looks at Thomas looking at photographs which are blown up larger and larger so that eventually they become merely an abstract collection of dots, a Rorschach test in which almost anything can be read. Like the Abstract Expressionist paintings of the tormented artist son in Pasolini's TEOREMA (1968), the received cultural baggage and semiotic referentiality of the image is eliminated until all that remains is purest subjectivity of the spectator. And so, picture-making technology mediates reality only up to a point: once the threshold of referentiality has been crossed, the suspicion of a murder in the park gleaned from a series of enlarged photographs would seem to say more about Thomas' own paranoid state of mind than what his camera may or may not have recorded. This subtextual aspect of the film has been compared to the controversy surrounding the various interpretations of the Abraham Zapruder film as a definitive and reliable record of the Kennedy assassination -- and particularly, the mystery of the notorious 'grassy knoll.' Also, the possible incidence of adultery and The Girl's desperate efforts to retrieve the film suggest the scandalous fallout of the Profumo affair. Vanessa Redgrave, with her thick, dark brown hair and affected temptress-naïf manner, hinted at by a schoolgirl outfit and arms folded seductively over her breasts, seems meant to evoke, for a British audience at least, then-recent memories of Christine Keeler. BLOW-UP is full of visual and verbal non-sequiturs and nearly all the scenes are composed of long-takes with plenty of 'longeurs' and 'temps mort.' This real-time approach -- often fragmented by abrupt and seemingly arbitrary cuts -- faithfully simulates Thomas' experience and the mechanical routine of his creative process and its fleeting moments of sudden inspiration and frenzied excitement. All throughout the film there is a recurrent pattern of relationships left unconsummated and work left undone. Just as he appears on the verge of establishing meaningful contact with someone or about to finally resolve himself to some efficacious deed or another, he is immediately distracted by something else that pops up. Thomas resembles Odysseus in the way he is continually thwarted by chance encounters, which cause him to lose sight of his mission. Indeed, the film's meandering, episodic plot does seem to have elements of classical epic: the rock concert and the marijuana party afterward all suggest a ritual journey through a modern 'Land of the Lotus-Eaters.' Ironically, it is just when he discovers a sense of emotional commitment and social obligation in his life that his self-justifying cynicism and arrogant indifference toward others is replaced by a growing sense of impotence and defeat. In the final scene, speech is phased out of the film entirely, leaving only a silent form of physical communication unmediated by language and social pretensions. BLOW-UP was the Antonioni's greatest commercial and critical triumph and the film's narrative -- an odyssey through a modern city, following the protagonist from feigned poverty to the false security of wealth and ending on a note of final lingering doubt about one's place and purpose in the world -- seems itself a trenchant comment on the nature of success and what it does to people. By transposing to 'Swinging London' the Marxist concerns of his Italian films, Antonioni demonstrates once again that this malaise of modern life is not caused by technology and consumer culture but rather by man's failure to adapt to the conditions of the new environment he has created for himself. Comment Author: jawills =============================================================== To view the complete page online or view any of the 750,000 plus filmographies and 200,000 plus movie titles, please visit: http://us.imdb.com/CommentsShow?0060176-25 ================================================================== Copyright Internet Movie Database (IMDb) 2000 ================================================================== The sender chose to send you a page from our website in the belief that you would be interested in its content. If you believe that this message was sent to you maliciously, forward this message to "send-abuse@imdb.com" You have not been placed on a mailing list due to this message. ------------------------------ Date: Wed, 21 Jun 2000 23:42:48 -0600 From: evian Subject: Larry Klein and Joni bashing in Downbeat (now njc) Larry Klein writes: > You think Bill Orbit endures these kinds of > slings and arrows? Or Trevor Horn? Or any other > producer you care to name ... Okay, so Lindsay > Buckingham, Rupert Hine and I have swapped some > stories ... > Have Rupert and Lindsey been dragging me through the mud again? Because I tell you, I'll put a hex on their skinny little asses. Let's start with Lindsey. With him it was work, work, work. You should have seen him when we were working on Tusk. Every night it was the same thing -- "Stevie, the chiffon on the mic stand is obstructing the resonance of the spoons that I'm playing" or "the candle is flickering too loudly, please blow it out" or "Your goddamn heels are clomping too loudly when you twirl and now we'll have to overdub." Like, he wouldn't even let me wear my cape in peace. Instead, he kept putting it on Mick and then made him twirl with it in the bathroom, while he tape recorded it on the floor. I mean, such treatment! And the album name -- Tusk -- I kept saying "we aren't in highschool anymore, but what can you do -- men will always have their lockerroom humor. I scrubbed toilets for him, and he thanks me by being unbearable in the studio. I should have drowned him in that silver spring long before that. In the studio, he always would "Go Insane". As for Rupert Hine, read my story about working with him in Timespace. I wrote "Rooms on Fire" for him in mind.... if only the room was on fire when he was in it. By the way...Klein, interested in working on the new album with me? I'll give you a big-word blurb in the liner notes -- although no hanky-panky please -- I've promised myself to this chubby, hairy, tone-deaf Canadian with a bad tooth and a raging nicotine addiction. Just like the white winged dove, Stevie "the goddess of love" Nicks ------------------------------ End of JMDL Digest V2000 #348 ***************************** ------- Post messages to the list at Unsubscribe by sending "unsubscribe joni-digest" to ------- Siquomb, isn't she?