From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2012 #1129 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 1129 ========== TOPICS and authors in this Digest: -------- Joni Covers 150 - Sesquicentennial [Bob Muller ] Re: DITS discussed [Anne Sandstrom ] RE: NRH vs TI, and JOTMAS (the gift went on) ["Robert Sartorius" ] ---------------------------------------------------------------------- Date: Sat, 18 Aug 2012 06:02:08 -0700 (PDT) From: Bob Muller Subject: Joni Covers 150 - Sesquicentennial Now THERE'S a word you don't get to use very often - "sesquicentennial". And to tell the truth I'm not really using it correctly. It's technically the 150th anniversary of an event, but in this case it's the 150th volume of Joni covers. In any event - it's another eclectic collection of Joni songs performed by musicians and singers from all genres and corners of the world. BSN done reggae styly, Black Crow jazzed way up, lots to enjoy here. Get with it: http://tinyurl.com/ckvj3c8 Cast of Characters: 1. Baker's Cottage - Both Sides Now 2. Andrea Wolper - Song To A Seagull 3. Andrea Wolper - Be Cool 4. America - Woodstock 5. Abadou - Both Sides Now 6. Ami Williamson - A Case Of You 7. Belles & Whistles - River/White Christmas 8. Dai Sakakibara - Blue 9. Animal Magnetism - Coyote 10. Abigail Riccards & Tony Romano - Both Sides Now 11. Austra - Woodstock 12. Becca Stevens Band - Help Me 13. Andreas Bieber - - Beide Seiten (Both Sides Now) 14. Bennett Nielson Duo - Hissing Of A Summer Lawn 15. Bob Heckler - The Circle Game 16. Heather Sullivan - Both Sides Now 17. Grzegorz Karnas Band - Black Crow 18. Giulia Chiaraluce - Blue 19. Jake Walden - A Case Of You 20. Andy Monroe - River Enjoy! Bob ------------------------------ Date: Fri, 17 Aug 2012 18:03:38 +0000 (GMT) From: Anne Sandstrom Subject: Re: DITS discussed Did I ever mention that when I first heard the infamous line I thought it was "You're not just liberation, doll" Oh and I also thought it was "In flames are prophet witches" I think that might be my one question for Joni. What the heck does that (notches) line mean? lots of love, Anne ------------------------------ Date: Sat, 18 Aug 2012 09:18:18 -0400 From: "Robert Sartorius" Subject: RE: NRH vs TI, and JOTMAS (the gift went on) On Aug 16, Sue Mc wrote (within a longer post): "I was in complete rapture when she started talking about the guitar. From the point where she was talking about her harmonic style...............and also her discussion of how Court and Spark set up Hissing for failure, which taught her that if you have success the next project should be full of experimentation because no one is going to like it anyway. So I believe that Night Ride Home gave her permission to complete the resurgence of her master craft on guitar which was realized so triumphantly on Turbulent Indigo. (more sighing) So Shari, yesterday you asked what is the one question I would ask Joni and I said, please show me how to play your shuffle strum. Well, how could I have possibly guessed that within the same day, Joni would answer my question? This video shows a great shot of this technique when she is playing the beginning of Cherokee Louise." I had stopped listening to Joni's newer albums for many years, and picked them up again in the late 90s. NRH and TI were new to me. I really liked NRH - - to me, it was a return to form. And I felt pretty strongly that the Grammy Joni won for TI was in no small measure the industry's "thank you" for NRH as well. However, rewarded as usual with repeated listenings, I later came to view TI as the stronger artistic achievement. In some ways, I viewed this pair of albums as a more mature rendition/reincarnation of Joni's earlier "acoustic period" of the early 70's. But I bury the lead, as usual. If Joni's success with NRH gave her permission to complete her resurgence with TI, then why did TI get the Grammy instead of the boot? Perhaps the answer lies in my theory - that she hadn't gotten the praise for the first record, so she was able to do the second without being hammered - au contrere ! (Didn't she write a song about that ?) I was fiddling with the piano the other day - all I can do is fiddle - and I started playing Judgment of the Moon and Stars (special emphasis on the introduction). I think it is incredible that Joni could pay homage to the great master in the form of a song wherein the opening bars - so Beethoven like - could arguably outdo even the master in their majesty. What a gift ! (Please note that I am not comparing Joni's musical skill set to Beethoven's - - her art is in a different realm, broader and shallower in dimensions, I would say - and not subject to that type of comparison). Anyway, over the years, I have had the rather odd habit of occasionally editing Joni's lyrics while playing her songs for myself. I may be looking in some cases for improvement, or for additional poetic density - but usually, I'm just trying to reduce the number of words I need to sing to some manageable sequence. (Song for Sharon was one such song). However, the closing lines of JOTMAS have always left me feeling uncomfortable. Why? Because I can change the last word of the song to its literal opposite, and still feel it would have poetic (and perhaps ironic) meaning. "Condemned to wires and hammers Strike every chord that you feel That broken trees And elephant ivories conceal" But what if the last word had instead been "reveal" ? So, if I had a question for her, I would ask her how she feels even today about that song. For I really believe that Joni is one of those rarest of the rare - like Beethoven - whose work deserves the long legs of public recognition as great classical art. And while she somehow felt the initial connection to Ludwig von that inspired her to write that song, I wonder if she harbors even stronger connective feelings now - in the wake of her career, still budding then, having reached fruition. Bobsart ------------------------------ Date: Fri, 17 Aug 2012 19:58:37 +0000 From: Susan Tierney McNamara Subject: RE: DITS discussed 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 ------------------------------ End of JMDL Digest V2012 #1129 ****************************** ------- To post messages to the list, sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------