From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2012 #1128 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe:mailto:joni-digest-request@smoe.org?body=unsubscribe Website:http://jonimitchell.com JMDL Digest Saturday, August 18 2012 Volume 2012 : Number 1128 ========== TOPICS and authors in this Digest: -------- RE: I had a king [Susan Tierney McNamara ] RE: I had a king [Bob.Muller@Fluor.com] Re: DITS discussed ["Eaton, Shari" ] The Dream: For Kakki's Birthday [Lindsay Moon ] Re: DITS discussed ["Eaton, Shari" ] "Urge for Going" ... to another Jonifest? (NJC) [Lori Fye Subject: RE: I had a king Bob, Go Tell The Drummer Man is bear to play, the little shuffle run she plays in between verses is so synchopated, I always mess it up. This song is in the same tuning as MFM and IDKWIS too, so in many of the early cafi tapes, she plays these three songs together! Circa 67. Susan Tierney McNamara email: sem8@cornell.edu From: Bob.Muller@Fluor.com [mailto:Bob.Muller@Fluor.com] Sent: Friday, August 17, 2012 11:11 AM To: Susan Tierney McNamara Cc: jlhommedieu@insight.rr.com; joni@smoe.org Subject: RE: I had a king Not to mention all of the unreleased songs, some of which were just as symphonic and complex as what she ended up releasing. Many of the songs she wrote and was performing in '66/'67/'68 she ended up recording and releasing later (Little Green, Circle Game, Conversation, Roses Blue) etc. Maybe my "one question" would be what made her decide FOR some of these and AGAINST some of the others. Really, my one question would be to inquire as to why she doesn't want her archives released when so many of her contemporaries (Dylan, Neil, The Beatles, CSN) have done so with great success and adoration from their fans. I was listening to "Go Tell The Drummer Man" yesterday - hadn't heard it in forever - I had forgotten what a cool and "Joni-esque" song it is. By Joniesque I mean a song that NO ONE ELSE would have come up in terms of the intro, the chord progressions, the rhyme scheme, everything. Bob - ------------------------------------------------------------ The information transmitted is intended only for the person or entity to which it is addressed and may contain proprietary, business-confidential and/or privileged material. If you are not the intended recipient of this message you are hereby notified that any use, review, retransmission, dissemination, distribution, reproduction or any action taken in reliance upon this message is prohibited. If you received this in error, please contact the sender and delete the material from any computer. Any views expressed in this message are those of the individual sender and may not necessarily reflect the views of the company. - ------------------------------------------------------------ ------------------------------ Date: Fri, 17 Aug 2012 11:10:31 -0400 From: Bob.Muller@Fluor.com Subject: RE: I had a king Not to mention all of the unreleased songs, some of which were just as symphonic and complex as what she ended up releasing. Many of the songs she wrote and was performing in '66/'67/'68 she ended up recording and releasing later (Little Green, Circle Game, Conversation, Roses Blue) etc. Maybe my "one question" would be what made her decide FOR some of these and AGAINST some of the others. Really, my one question would be to inquire as to why she doesn't want her archives released when so many of her contemporaries (Dylan, Neil, The Beatles, CSN) have done so with great success and adoration from their fans. I was listening to "Go Tell The Drummer Man" yesterday - hadn't heard it in forever - I had forgotten what a cool and "Joni-esque" song it is. By Joniesque I mean a song that NO ONE ELSE would have come up in terms of the intro, the chord progressions, the rhyme scheme, everything. Bob - ------------------------------------------------------------ The information transmitted is intended only for the person or entity to which it is addressed and may contain proprietary, business-confidential and/or privileged material. If you are not the intended recipient of this message you are hereby notified that any use, review, retransmission, dissemination, distribution, reproduction or any action taken in reliance upon this message is prohibited. If you received this in error, please contact the sender and delete the material from any computer. Any views expressed in this message are those of the individual sender and may not necessarily reflect the views of the company. - ------------------------------------------------------------ ------------------------------ Date: Fri, 17 Aug 2012 14:23:33 -0700 From: "Eaton, Shari" Subject: Re: DITS discussed During the Morrissey interview I got the sense that he kept pushing for her to tell her frustrations (very english to whinge so no fault on him) but she kept saying 'no i don't have a problem with _____.' Another time, I heard her say a psychic told her that this was her first life as a woman in awhile. Whether you believe in that kind of stuff or not, she does seem to have a very balanced approach to life, writing, etc. And she mentions not wanting to be a part of any lines between classes, races or otherwise and I never get the sense she's attacking anyone in particular but instead, trying to empathize with their position. Only one time did I hear a sting from her, specifically in Conversation 'She speaks in sorry sentences...' And I've read tales around her suicide attempt and the cutting song toward an ex that drove his wife to the same (Sharon?) None of this was confirmed and I have a hard time believing it. Again, just my insight/opinion. Great thing about art is it's open for all kinds of interpretation. Would love to hear other views! On Aug 17, 2012, at 12:58 PM, Susan Tierney McNamara wrote: > I think you've hit on something here Shari. I've been practicing The Gallery for the next video and the line "I can be cruel, but let me be gentle with you," shows compassion around the seams. And also the scathing Woman of Heart and Mind "I give you my scorn and my praise." I'm sure there are many more examples. > > Susan Tierney McNamara > email: sem8@cornell.edu > > > -----Original Message----- > From: owner-joni@smoe.org [mailto:owner-joni@smoe.org] On Behalf Of Eaton, Shari > Sent: Friday, August 17, 2012 3:36 PM > To: Bob Muller > Cc: JMDL > Subject: Re: DITS discussed > > This is a fascinating set of lyrics and while I've always enjoyed the line "don't interrupt the sorrow," I haven't thought a ton about it. My first gut reaction to it is .. much like a lot of her songs (The Arrangement especially), I feel like she writes in a sympathetic way toward the man's position. Anima rising being their feminine side coming to light and the struggle man feels with the position they've set themselves. Perhaps the drinking they need to do to handle the guilt and the reminder to themselves that remaining steadfast (timber down to rock) makes for a strong man  seems to be the main theme here. > > With 'don't interrupt the sorrow' being a way of saying 'have compassion for the struggle they must feel around the social structure that has been dictated to them'. > > Just my interpretation. > > > On Aug 17, 2012, at 10:31 AM, Bob Muller wrote: > >> We've talked about it a bunch, here's one person's thoughts on Don't >> Interrupt The Sorrow: >> >> http://tinyurl.com/9kl2k7q >> >> Bob ------------------------------ Date: Fri, 17 Aug 2012 15:10:42 -0700 From: Lindsay Moon Subject: The Dream: For Kakki's Birthday I just finished reading "Laurel Canyon: The Inside Story of Rock and Roll's Legendary Neighborhood" by Michael Walker. Really enjoyed it. Towards the end when the hippies are moving on and things are deteriorating into cocaine addiction around the canyon, there is this little blurb which I have been meaning to share  and am inspired by our own "Lady of the Canyon" Kakki, whose birthday is nigh: "Joni Mitchell was one of the first to go, forsaking her house on Lookout Mountain for Bel-Air. She and Nash had separated -- Nash wanted to marry, she didn't. "It was not a happy time for me," Nash says. "I was deeply in love with Joan, more than I would have admitted to her. I don't know why that is, but men are strange sometimes. When we parted I went to San Francisco, bought the first house I saw, and moved in. It was hard." Mitchell leased the house to Ron Stone, her neighbor and co-manager. Although he soon became successful enough himself to move to gaudier quarters, he didn't, even after "everybody I knew with the exception of Mark Volman had moved out. I could have afforded better. I didn't want better. I stayed for romantic reasons." Stone ended up leasing the house from Mitchell for the next twenty-seven years -- "she was a good landlady" -- and raising his children there. "There was a mystical kind of atmosphere in the house." he says.  He freely admits that actually living in the house "was a nightmare. When it rained, it leaked. Cold air came through the cracks. I never really noticed until I lived in a proper house."  The house, says Stone, "was somehow blessed. A lot of bad things happened in that neighborhood, but nothing happened to the house." There was the time, when Mitchell still lived there, that the house next door -- shared by Canned Heat -- burned in a furious blaze that somehow spared hers. "By all rights it should have burned the house to the ground, but for whatever reason it blackened the back door and stopped," Stone says.  On January 17, 2005, Nash answered his phone in Hawaii, his home for the past thirty years. It was Mitchell, calling from L.A. "She said, 'Do you want to go to the house?' I said, "What?' She said, 'I'm thinking of selling it.' I said, 'Really? Why?' She said the people renting it, three guys came over the fence and tried to rob them. And Joni thinks that those things are signs, and so she thought it was a sign that she should give it up. She wasn't there to protect it. So she wanted to know if I wanted to go back and reminisce for a few minutes." Nash, about to leave on a world tour with Stills and Crosby, declined. So that's the story on the house in Laurel Canyon that some of us visited. Good to know that the house we all find so magical, so do the people who actually lived there and made music there. Gives me a good feeling. Lindsay ------------------------------ Date: Fri, 17 Aug 2012 12:36:04 -0700 From: "Eaton, Shari" Subject: Re: DITS discussed This is a fascinating set of lyrics and while I've always enjoyed the line "don't interrupt the sorrow," I haven't thought a ton about it. My first gut reaction to it is .. much like a lot of her songs (The Arrangement especially), I feel like she writes in a sympathetic way toward the man's position. Anima rising being their feminine side coming to light and the struggle man feels with the position they've set themselves. Perhaps the drinking they need to do to handle the guilt and the reminder to themselves that remaining steadfast (timber down to rock) makes for a strong man  seems to be the main theme here. With 'don't interrupt the sorrow' being a way of saying 'have compassion for the struggle they must feel around the social structure that has been dictated to them'. Just my interpretation. On Aug 17, 2012, at 10:31 AM, Bob Muller wrote: > We've talked about it a bunch, here's one person's thoughts on Don't Interrupt > The Sorrow: > > http://tinyurl.com/9kl2k7q > > Bob ------------------------------ Date: Sat, 18 Aug 2012 00:38:12 +0200 From: Lori Fye Subject: "Urge for Going" ... to another Jonifest? (NJC) There seems to be an "urge for going" to another Jonifest happening among some of us ... anyone, anyone? And where? Lori currently in Germany but considering traveling back to the States ... ------------------------------ End of JMDL Digest V2012 #1128 ****************************** ------- To post messages to the list, sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------