From: les@jmdl.com (onlyJMDL Digest) To: onlyjoni-digest@smoe.org Subject: onlyJMDL Digest V2003 #25 Reply-To: joni@smoe.org Sender: les@jmdl.com Errors-To: les@jmdl.com Precedence: bulk Archives: http://www.smoe.org/lists/onlyjoni Websites: http://www.jmdl.com http://www.jonimitchell.com Unsubscribe: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe onlyJMDL Digest Wednesday, January 22 2003 Volume 2003 : Number 025 Sign up now for JoniFest 2003! http://www.jonifest.com ========== TOPICS and authors in this Digest: -------- Night Ride Home [Cactustree78@aol.com] Re: Night Ride Home [Susan Guzzi ] Re: joni lyric for the day/week/month ["Sarah Cartwright" ] Re: A New Standard? [SCJoniGuy@aol.com] Frank Zappa's / Joni's house [Steve Dulson ] "A Case of You" -- a "standard" by inclusion on "Both Sides Now" ["Timoth] dancin' CLOWN [] Re: A New Standard? [FMYFL@aol.com] in HISTORY [] more HISTORY [] Re: in HISTORY [David Sadowski ] Re: more HISTORY [SCJoniGuy@aol.com] Night Ride Home ["Kate Bennett" ] Subject: Frank Zappa's / Joni's house ["Kate Bennett" ] [none] ["Mick Mick" ] Re: A New Standard? ["Stephen Toogood" ] Re: Night Ride Home ["Stephen Toogood" ] Night Ride Home [Little Bird ] Claire and Amelia [gerime ] RE: I Have A Dream ["courtandspark@earthlink.net" ] Re: Subject: Frank Zappa's / Joni's house [Dan Olson ] ---------------------------------------------------------------------- Date: Wed, 22 Jan 2003 03:27:16 -0500 From: Cactustree78@aol.com Subject: Night Ride Home Hello all, Ive been listening to NRH non stop lately..Ive always liked Passion Play, Come in From the Cold,and the title track but i never really gave the rest of the album much of a chance..Let me tell you once I did it was all over..The most shocking song on the album for me was Winfall Everything for nothing...Shocking because I really felt like dancing around my apartment(ok i did) whatta kick ass beat...Seriously imagine dancin at your fave club(unless you are into techno) and that song comes on... not very hard to dance to...That song is about her housekeeper right??i remember reading a story about that situation..Anyway just wanted to share my new found love for winfall hope you all are havin a wonderful week... peace love and light your way ****kevin**** ------------------------------ Date: Wed, 22 Jan 2003 00:55:46 -0800 (PST) From: Susan Guzzi Subject: Re: Night Ride Home How strange Kevin, I had NRH on for the last day or two myself! For whatever reason, I just hadn't played it in some time. I aways like this album, but I too really took notice of Windfall this time around! This is the beauty of Joni, with a catalogue of work at this level, we can keep rediscovering her over and over again. Even though I wouldn't mind some new compositions. I love the title cut, The Only Joy in Town and Passion Play as well. And it is very late, or very early, so I am sure there are more but I must grab 2 or 3 hours of sleep - what's wrong with me?! Peace, Susan - --- Cactustree78@aol.com wrote: > Hello all, > > Ive been listening to NRH non stop lately..Ive always liked Passion Play, Come in From the > Cold,and the title track but i never really gave the rest of the album much of a chance..Let me > tell you once I did it was all over..The most shocking song on the album for me was Winfall > Everything for nothing...Shocking because I really felt like dancing around my apartment(ok i > did) whatta kick ass beat...Seriously imagine dancin at your fave club(unless you are into > techno) and that song comes on... not very hard to dance to...That song is about her housekeeper > right??i remember reading a story about that situation..Anyway just wanted to share my new found > love for winfall hope you all are havin a wonderful week... peace love and light your way > > ****kevin**** Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Wed, 22 Jan 2003 09:45:47 +0000 From: "Sarah Cartwright" Subject: Re: joni lyric for the day/week/month great thread. there are so many, but I think the one that always gets me is from LOTC 'nobody stopped to hear him, though he played so sweet, and high...'. if only everyone did stop once in a while. sarah - ------------------------------------------------------------------------ It's fast, it's easy and it's free! Click here to download MSN Messenger ------------------------------ Date: Wed, 22 Jan 2003 11:35:36 +0000 From: "Tamsin Lucas" Subject: Joni "must have" on Radio 2 This Saturday night, the must have album on Radio 2's critical list is Blue www.bbc.co.uk/radio2/shows/critical_list (they haven't updated the page from last week yet though) You can listen on line at www.bbc.co.uk/radio2 _________________________________________________________________ Worried what your kids see online? Protect them better with MSN 8 http://join.msn.com/?page=features/parental&pgmarket=en-gb&XAPID=186&DI=1059 ------------------------------ Date: Wed, 22 Jan 2003 07:47:24 -0500 From: "courtandspark@earthlink.net" Subject: Re: joni lyric for the day/week/month Could be a threshold or a precipice - ------------------------------------------------------------------------ It's fast, it's easy and it's free! Click here to download MSN Messenger - -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . ------------------------------ Date: Wed, 22 Jan 2003 08:10:51 -0500 From: SCJoniGuy@aol.com Subject: TNT All-Star Tribute to JM <> And further to Jim's point, it's also available on CD for those of you who like myself abandoned audio cassettes over ten years ago. And thanks to Steve Polifka, I've even got a nifty label I can put on it. Bob NP: The Flaming Lips, "What Is The Light?" ------------------------------ Date: Wed, 22 Jan 2003 08:17:52 -0500 From: SCJoniGuy@aol.com Subject: Re: A New Standard? In a message dated 1/22/2003 12:12:44 AM Eastern Standard Time, jpalis@kssp.upd.edu.ph writes: > Just curious, Bob, but what made you say The Circle Game is > standard > material for Asian women? Sorry Joseph, I forget sometimes that not everyone immerses themselves in the collection of and study of Joni covers! ;~) My comment was made based on the fact that the song has been covered numerous times by Asian female singers. It's almost a sub-genre of the Joni cover realm, much like heavy-metal covers of "This Flight Tonight". From what I can tell, a Chinese singer by the name of Agnes Chan got the ball rolling with her cover in 1971. She's apparantly a big name in China, so several others followed suit, including: Lillian Ho Chan Mei Ling Tokyo's Coolest Combo Jerry Notaro in particular wishes there were more! :~) Bob NP: Flaming Lips, "Waitin' For A Superman" ------------------------------ Date: Wed, 22 Jan 2003 08:26:06 -0500 From: SCJoniGuy@aol.com Subject: Re: A New Standard? Hey there Joseph, and thanks once again for sharing my enthusiasm! I was lucky to have stumbled on to this recording. Most of Claire's work is easily available, but this one for some reason appears only at the Linn Records website. Maybe it hasn't been out long enough to set up distribution, I don't know how any of that stuff works. And the whole lineup looks pretty interesting: Something's Coming Love At Last The Gentleman Is A Dope These Foolish Things It's Raining In My Heart Too Darn Hot Black Coffee Noir Love Is A Necessary Evil When I Fall In Love I Can Let Go Now Four Walls Blue Motel Room What's also interesting (and I hope a typo) is that according to the site BMR checks in at 1:59! Unless Claire is doing a speed metal version, there's no way you can do justice to BMR in under 2 minutes. Plus, the arrangement is by Ian Shaw, no stranger to the Joni cover himself having given us interpretations of This Flight Tonight, Furry Sings The Blues, and Goodbye Pork Pie Hat! I ordered the CD from Linn (of course!) so I'll let you know more when it arrives. Bob NP: Flaming Lips, "The Gash" ------------------------------ Date: Wed, 22 Jan 2003 08:33:30 -0500 From: SCJoniGuy@aol.com Subject: Re: Night Ride Home In a message dated 1/22/2003 3:27:16 AM Eastern Standard Time, Cactustree78 writes: > Anyway just wanted to share my new found love for winfall > hope you all are havin a wonderful week... I appreciate your eternal optimism, Kevin...if we ever can clone people, let's order up a couple more Kevin's! :~) As for The Windfall, I love it...yes, it's pretty much directed at the "axis of evil" maid who took a swift kick in the shins besides...my favorite lyric, "you'd eat your young alive, for a Jaguar in the drive"...man, it just doesn't get any more venomous than that. Don't know about dancing to it, but hey, I suppose one can dance to anything. Bob ------------------------------ Date: Wed, 22 Jan 2003 08:35:38 -0600 From: Steve Polifka Subject: Re: Night Ride Home Jeff and I have this rotation of Joni going on in the car- NRH, C&S, and WTRF, which we both think are her three most consistant albums. Windfall was playing on our trip back from Chicago on Monday and he turned to me and said, "Who else can write lines like that? Cutting but not cruel..." I have always liked Winfall. If Joni ever wrote a song about my sister, that would have been it! ;-) Steve At 08:33 AM 1/22/03 -0500, you wrote: >In a message dated 1/22/2003 3:27:16 AM Eastern Standard Time, Cactustree78 writes: > >> Anyway just wanted to share my new found love for winfall >> hope you all are havin a wonderful week... > >I appreciate your eternal optimism, Kevin...if we ever can clone people, let's order up a couple more Kevin's! :~) > >As for The Windfall, I love it...yes, it's pretty much directed at the "axis of evil" maid who took a swift kick in the shins besides...my favorite lyric, "you'd eat your young alive, for a Jaguar in the drive"...man, it just doesn't get any more venomous than that. >Don't know about dancing to it, but hey, I suppose one can dance to anything. > >Bob > > Steve ------------------------------ Date: Wed, 22 Jan 2003 10:40:24 -0500 From: SCJoniGuy@aol.com Subject: Re: A New Standard? In a message dated 1/21/2003 9:39:44 PM Eastern Standard Time, messling@enter.net writes: > What exactly makes a song a "standard?" Just sheer > repetition? Good question, Deb...I have no pat answers but some thoughts. First I would say that "Moon At The Window" has the potential to become a standard. In the past year or so a couple of versions have been done. Repetition is certainly a factor...look at the numbers of times that the Rodgers/Hart, Gershwin, Bacharach, Hoagy Carmichael songbooks have been raided. It would be silly to propose that songs like "Stardust", "Summertime", "My Funny Valentine" are NOT standards, solely based on the NUMBER of times they've been recorded. So what number makes a song a standard, I dunno. I would say another factor would be the interpretation of the song in several genres; pop, jazz, etc. This definition may need to be revised in the post-rock era. Anyway, it's interesting to think about. Blue Motel Room has just always SOUNDED like a standard to me...when I had the privilege of talking to Joni, I talked to her about this very subject. She responded by saying that BMR had some archaic language (the America vs. Russia references), and I responded by saying that THAT can sometimes be a characteristics of a standard, the indication that the song was written in another time and has stood the test of time. For instance, how many standards use the word "gay" in context of happiness as opposed to context of sexuality? Bob NP: Fleetwood Mac, "Monday Morning" ------------------------------ Date: Wed, 22 Jan 2003 08:12:19 -0800 From: Steve Dulson Subject: Frank Zappa's / Joni's house Dan wrote: >It looks like there are two other lots (or are they combined); >one (or all of it) has to have been Joni's. Does she still live there? No, she has since moved to swanker quarters. :) Her old house would be along Lookout Mountain Ave either at the extreme right of the map, or one just off that edge of the map. I will get this pinned down in time for the LA Joni tour. :) The no-longer-there Zappa house was on the corner of the lot at Lookout and Laurel. - -- ######################################################## Steve Dulson Costa Mesa CA steve@psitech.com "The Tinker's Own" http://www.tinkersown.com "The Living Tradition Concert Series" http://www.thelivingtradition.org/ ------------------------------ Date: Wed, 22 Jan 2003 16:23:23 +0000 From: "Timothy Spong" Subject: "A Case of You" -- a "standard" by inclusion on "Both Sides Now" On Tue, 21 Jan 2003, at 18:48:59 EST, SCJoniGuy@aol.com (Bob Muller), on Subject: A New Standard?, wrote: OK, so today I found out that yet another jazz vocalist has done a cover of "Blue Motel Room" - Claire Martin, who also has done a most excellent version of "Be Cool". So that makes 4 covers of BMR that were released in 2002. Not that it's going to overtake McCartney's "Yesterday" at any moment, but I wonder if it's slowly becoming a new "standard"? It certainly deserves to be! And is it the most deserving song of Joni's to become her next standard? In my opinion, these already are: Both Sides Now Big Yellow Taxi Woodstock Chelsea Morning Wondering what y'all think? Note: those who gripe about NJC threads maybe want to contribute to this one instead of complaining, or you know, start a Joni thread one of your own! :~) Bob Subsequent posts nominated "A Case of You," among others, but none of the posts on Wednesday's Digest -- Tuesday's posts -- made the point that, by including ACOY on "Both Sides Now" (the album/CD), Joni evidently views it as a standard. Tim Spong Dover, Del., U.S.A. _________________________________________________________________ Protect your PC - get McAfee.com VirusScan Online http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ------------------------------ Date: Wed, 22 Jan 2003 11:31:07 -0500 From: Subject: dancin' CLOWN BRYAN: Funny, isn't it, about DANCIN' CLOWN? I've always liked it myself. It's a rather affectionate throwaway. It really MOVES. I think Billy and Tom really belong in the mix. And I like the lyrics. Like, especially, "You hear the SWOOSH of jungle blades / And the crackle of northern ice." (Have you seen the video? Joni and one of her beloved cats? It's really funny and sweet.) To each his own, I guess. In any case: you're not alone. ;-) Personally, when playing CMIARS, I tend to skip LAKOTA (shrill), TEA LEAF (wonderful story; nothing melody -- pity) , COOL WATER (blah) and REOCCURING DREAM (banal). MICHAEL in Toronto ------------------------------ Date: Wed, 22 Jan 2003 11:38:35 EST From: FMYFL@aol.com Subject: Re: A New Standard? > In a message dated 1/21/2003 9:39:44 PM Eastern Standard Time, > messling@enter.net writes: > > > What exactly makes a song a "standard?" Just sheer > > repetition? > This got me wondering too Deb, and Bob's reply is pretty much my thoughts. I did a little research and read someone's opinion on the subject. "The word "standard," when applied to music, is an evocative one. It implies music that everybody knows, songs that we instinctively sing along with, never stopping to wonder how or why we know all the words" "In many cases, people use the word "standard" to describe any song that most people know by heart -- everything from the national anthem to "Hey Jude."" "In order to prove itself as a standard, a song must survive at least a handful of decades." I thought this part was interesting. "In his book, Morath refers to a quote attributed to Bob Dylan in the 1960s: "Tin Pan Alley is dead. I killed it."While Dylan certainly cannot take all of the credit, the singer-songwriter convergence of the 1960s did change the way popular music worked. Up until then, the songwriter and the performer had separate roles.People like Dylan, Joni Mitchell and the Beatles changed all that. And that has hindered the production of songs that have the potential to become timeless, Morath said." For the full article see : http://www.louisvillescene.com/music/features/2002/20020707standards1.html Jimmy ------------------------------ Date: Wed, 22 Jan 2003 12:45:39 -0500 From: Subject: in HISTORY In the This Month is History section of jmdl, it tells us that THOSL peaked at #4 on the U.S. charts, and HEJIRA peaked at #13. That's amazing, huh? With no hits on the radio? Wow. ------------------------------ Date: Wed, 22 Jan 2003 12:49:08 -0500 From: Subject: more HISTORY And further to that, was WTRF Joni's (misguided) attempt to climb back up the charts? Is that why she -- with notable exceptions, of course -- went all "simple" on us? Just a thought. ------------------------------ Date: Wed, 22 Jan 2003 12:45:04 -0600 From: David Sadowski Subject: Re: in HISTORY Well, over a period of years Joni built up her name in the pop marketplace until she had a loyal following who would buy her albums when they came out. Sales continued to be good until she stopped touring and recording for some years, and as her records and shows gradually became more infrequent, her audience declined. mtotzke@gosympatico.ca wrote: >In the This Month is History section of jmdl, it >tells us that THOSL peaked at #4 on the U.S. charts, >and HEJIRA peaked at #13. That's amazing, huh? >With no hits on the radio? Wow. ------------------------------ Date: Wed, 22 Jan 2003 14:21:17 -0500 From: SCJoniGuy@aol.com Subject: Re: more HISTORY In a message dated 1/22/2003 12:49:08 PM Eastern Standard Time, mtotzke@gosympatico.ca writes: > And further to that, was WTRF Joni's (misguided) > attempt to climb back up the charts? Don't know that I'd call it "misguided", but I think that the answer is an obvious yes. After Court & Spark, Joni's star slowly dimmed in terms of popularity, airplay, etc until Mingus when it was pretty much snuffed out completely, critically & commercially. WTRF (and the resulting year-long world tour that followed it in 1983) was an attempt to re-enter the marketplace. How much influence Klein had at this point is anybody's guess, and in any case, I've always been delighted with the results! Bob NP: The Mike Flowers Pops, "Freebase" ------------------------------ Date: Wed, 22 Jan 2003 11:33:16 -0800 From: "Kate Bennett" Subject: Night Ride Home i just love love love love this title cut & have been playing it in my set lately (& thinking of putting it on my next cd!!! woohoo! whenever that miracle happens...lol...) last gig i ended the evening with nrh because it is such a lovely way to say goodbye, goodnight, have a safe drive home...often i get comments on how much folks like the song & if i wrote it (oh, i wish!) but still it is great to turn people on to a joni song they've never heard before... ******************************************** Kate Bennett: www.katebennett.com Sponsored by Polysonics/Atlantis Sound Labs Over the Moon- "bringing the melancholy world of twilight to life almost like magic" All Music Guide ******************************************** ------------------------------ Date: Wed, 22 Jan 2003 11:53:15 -0800 From: "Kate Bennett" Subject: Subject: Frank Zappa's / Joni's house fun to see this interesting place - what a history! houdini especially, wow!...speaking of hedonism...i remember reading an interview with dweezil zappa where he said that he never interested in doing drugs because of his up close & personal experience of observing so many of his dad's friends getting high & acting like idiots... ******************************************** Kate Bennett: www.katebennett.com Sponsored by Polysonics/Atlantis Sound Labs Over the Moon- "bringing the melancholy world of twilight to life almost like magic" All Music Guide ******************************************** ------------------------------ Date: Wed, 22 Jan 2003 11:34:38 -0800 From: Scott Price Subject: Re: more HISTORY At 02:21 PM 1/22/2003 -0500, SCJoniGuy@aol.com wrote: > >>mtotzke@gosympatico.ca writes: > >> And further to that, was WTRF Joni's (misguided) > >> attempt to climb back up the charts? > >Don't know that I'd call it "misguided", but I think that the answer is an >obvious yes. *If* Joni was ever thinking about mining a formula for mainstream commercial success, I'd have to believe it was on this album (WTRF). But I have always thought that the album was more an examination or a celebration of falling in love and being in love. If her then-budding relationship with Klein resulted in a more pop-friendly musical presentation then it was secondary. As Bob states, she had indeed been raked over the coals for "Mingus" and judging from the radical differences between "Minugs" and WTRF it is obvious she was going for a major change of style. If you look at each of her albums, starting with STAS, there is a natural progression...a growth in her songwriting...and an increasing complexity coupled with experimentation. Starting with FTR all the way through Minus you can hear jazz becoming a bigger and bigger influence. With WTRF she discarded many of the jazz phrasings and colors (except for "Moon at the Window" which to my ear makes to illusions as to its jazzy structure). I would not call it "misguided" either. But I do feel the album was an abrupt change of direction for Joni. And I think it was a combination of things which all contributed to the finished product...her newly-found love (Klein), a move away from the critics and more toward a broader audience than what she found in the jazz world, and the collaboration itself with Larry...*his* input no doubt had a lot to do with how this album turned out. Scott ------------------------------ Date: Wed, 22 Jan 2003 21:15:53 +0000 From: "Mick Mick" Subject: [none] In a message dated 1/21/2003 10:06:53 PM Eastern Standard Time, BRYAN8847@aol.com writes: >Perhaps I am alone in my affection for the song... > Yes, Bryan...when you dance with this clown, you're dancing alone. Bob No you're not Bob. 'nother one here.............................. let's DEYANCE :o) _________________________________________________________________ Use MSN Messenger to send music and pics to your friends http://messenger.msn.co.uk ------------------------------ Date: Wed, 22 Jan 2003 21:35:55 -0000 From: "Stephen Toogood" Subject: Re: A New Standard? Yes it most certainly does deserve to be a standard. It's just so timeless (the whole of Hejira is) ans smooth. Also it's nice to hear more of her songs after Blue being covered. I think that might have been the first recording Joni played electric guitar too! Plus you can also add to the list:- 'A Case Of You' 'The Circle Game' 'River' and perhaps 'Urge for Going' I think 'For The Roses' and 'Cactus Tree' should be covered more aswell. I've always wondered how good 'For The Roses' would sound on piano. Stephen Toogood "God goes up the cimney Like childhood Santa Claus The good slaves love the good book A rebel loves a cause" - ----- Original Message ----- From: To: Sent: Tuesday, January 21, 2003 11:48 PM Subject: A New Standard? > OK, so today I found out that yet another jazz vocalist has done a cover of > "Blue Motel Room" - Claire Martin, who also has done a most excellent version > of "Be Cool". So that makes 4 covers of BMR that were released in 2002. Not > that it's going to overtake McCartney's "Yesterday" at any moment, but I > wonder if it's slowly becoming a new "standard"? It certainly deserves to be! > > And is it the most deserving song of Joni's to become her next standard? In > my opinion, these already are: > > Both Sides Now > Big Yellow Taxi > Woodstock > Chelsea Morning > > Wondering what y'all think? Note: those who gripe about NJC threads maybe > want to contribute to this one instead of complaining, or you know, start a > Joni thread one of your own! :~) > > Bob ------------------------------ Date: Wed, 22 Jan 2003 21:41:38 -0000 From: "Stephen Toogood" Subject: Re: Night Ride Home I've also been giving NRI a bit more of my time recently. Where I find half of the songs a bit weak the ones that are good are really good! The theme of the album definately seems to be 'growing old' so who knows a few more years and I might love the rest of it! Stephen Toogood "God goes up the cimney Like childhood Santa Claus The good slaves love the good book A rebel loves a cause" - ----- Original Message ----- From: To: Sent: Wednesday, January 22, 2003 8:27 AM Subject: Night Ride Home > Hello all, > > Ive been listening to NRH non stop lately..Ive always liked Passion Play, Come in From the Cold,and the title track but i never really gave the rest of the album much of a chance..Let me tell you once I did it was all over..The most shocking song on the album for me was Winfall Everything for nothing...Shocking because I really felt like dancing around my apartment(ok i did) whatta kick ass beat...Seriously imagine dancin at your fave club(unless you are into techno) and that song comes on... not very hard to dance to...That song is about her housekeeper right??i remember reading a story about that situation..Anyway just wanted to share my new found love for winfall hope you all are havin a wonderful week... peace love and light your way > > ****kevin**** ------------------------------ Date: Wed, 22 Jan 2003 14:33:04 -0800 (PST) From: Little Bird Subject: Night Ride Home This is the one that started it all! My uncle was playing it in the car on the way to Toronto, a few months after it was first released, and I fell in love with it. I subsequently bought all of Joni's albums over an eight year period and now consider myself something of a Joni "completist," although I have no need for every single Joni release in existence - just the fine and dandy basics. - -Andrew Yahoo! Mail Plus - Powerful. Affordable. Sign up now ------------------------------ Date: Wed, 22 Jan 2003 23:27:54 +0000 From: gerime Subject: Claire and Amelia OK, so today I found out that yet another jazz vocalist has done a cover of "Blue Motel Room" - Claire Martin, who also has done a most excellent version of "Be Cool". I know someone who has worked with Claire, and of course i asked him to ask her about her Joni love she is a huge Joni fan. So much so that she recently had a baby (about 6 months or so) and she named her Amelia. Gerry ------------------------------ Date: Wed, 22 Jan 2003 19:07:48 -0500 From: "courtandspark@earthlink.net" Subject: RE: I Have A Dream Nothing but chills as I read this piece, too long away from my eyes and my mind. What a great, great man he was. Salute to you Martin. Thank You. love, mack Original Message: - ----------------- From: simon@icu.com Date: Mon, 20 Jan 2003 23:41:50 -0500 To: joni@smoe.org Subject: "I Have A Dream" THE Great American Speech Delivered on the steps at the Lincoln Memorial in Washington D.C. August 28, 1963 "I Have A Dream" by The Rev. Dr. Martin Luther King, Jr. Five score years ago, a great American, in whose symbolic shadow we stand signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of captivity. But one hundred years later, we must face the tragic fact that the Negro is still not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize an appalling condition. In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness. It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check -- a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to open the doors of opportunity to all of God's children. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood. It would be fatal for the nation to overlook the urgency of the moment and to underestimate the determination of the Negro. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges. But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone. And as we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream. I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair. I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal." I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slaveowners will be able to sit down together at a table of brotherhood. I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today. I have a dream that one day the state of Alabama, whose governor's lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith with which I return to the South. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day. This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring." And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous peaks of California! But not only that; let freedom ring from Stone Mountain of Georgia! Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring. When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!" - ------------------------------------------------------------------------- "They kill people who give hope in this culture." Joni Mitchell andmoreagain, - ------------ simon - -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . ------------------------------ Date: Wed, 22 Jan 2003 19:15:51 -0500 From: "courtandspark@earthlink.net" Subject: RE: I Have A Dream My apologies to the Joni only crowd. I assumed, incorrectly, that the original post had the tag on it. It didn't. I could have included Joni as I listen to the thought provoking DED as I read the words. sorry again, mack Original Message: - ----------------- From: simon@icu.com Date: Mon, 20 Jan 2003 23:41:50 -0500 To: joni@smoe.org Subject: "I Have A Dream" THE Great American Speech Delivered on the steps at the Lincoln Memorial in Washington D.C. August 28, 1963 "I Have A Dream" by The Rev. Dr. Martin Luther King, Jr. Five score years ago, a great American, in whose symbolic shadow we stand signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of captivity. But one hundred years later, we must face the tragic fact that the Negro is still not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize an appalling condition. In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness. It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check -- a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to open the doors of opportunity to all of God's children. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood. It would be fatal for the nation to overlook the urgency of the moment and to underestimate the determination of the Negro. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges. But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone. And as we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream. I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair. I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal." I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slaveowners will be able to sit down together at a table of brotherhood. I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today. I have a dream that one day the state of Alabama, whose governor's lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith with which I return to the South. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day. This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring." And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous peaks of California! But not only that; let freedom ring from Stone Mountain of Georgia! Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring. When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!" - ------------------------------------------------------------------------- "They kill people who give hope in this culture." Joni Mitchell andmoreagain, - ------------ simon - -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . - -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . ------------------------------ Date: Thu, 23 Jan 2003 00:40:18 -0000 From: "Eryl B Davies" Subject: Re: JMDL Digest V2003 #51 Re: don't discuss-suggestionNJC [colin ] colin could we discuss this non discussion list? Eryl P.S. I think English is more interesting than just the variety of accents. For instance: If a vegetarian eats vegetables what does a humanitarian eat? or Why is there a difference between a wise man and a wise guy? ------------------------------ Date: Wed, 22 Jan 2003 18:37:51 -0700 From: Dan Olson Subject: Re: Subject: Frank Zappa's / Joni's house It should be noted that Frank Zappa himself never used drugs or alcohol, but smoked cigarettes heavily. At 11:53 AM 1/22/2003 -0800, Kate Bennett wrote: >fun to see this interesting place - what a history! houdini especially, >wow!...speaking of hedonism...i remember reading an interview with dweezil >zappa where he said that he never interested in doing drugs because of his >up close & personal experience of observing so many of his dad's friends >getting high & acting like idiots... ------------------------------ Date: Wed, 22 Jan 2003 20:27:40 -0700 From: Dan Olson Subject: Re: in HISTORY - Hejira At 12:45 PM 1/22/2003 -0500, wrote: >In the This Month is History section of jmdl, it >tells us that THOSL peaked at #4 on the U.S. charts, >and HEJIRA peaked at #13. That's amazing, huh? >With no hits on the radio? Wow. The popularity of Hejira is itself remarkable, and should not be dimininished by comparison to THOSL. I'm sure her albums peak numbers never again were that high. She lost a huge number of casual fans with DJRD, and certainly Mingus. Hejira was as popular as it was because it was still accessible to the ears of her original loyal fans (who were more mainstream than all of us on this list). I would argue that Hejira was the last album that Joni had complete control over musically. The musical structures were much simpler generally than all of hers since (and many before, for that matter), because they were composed and played exclusively BY HER ON GUITAR. I don't think it's a stretch to think of Hejira as a throwback to her considerably earlier work (at the time, STAS, Clouds, LOTC), with her on solo guitar. It's my understanding that Jaco's bass parts were overdubbed at a later date; in most cases, he's overdubbed at least twice, filling the sound with a haunting improvised melody complimenting Joni's singing, giving the impression of a larger and more jazz-oriented band than it was. (IMHO Hejira is Jaco's finest work in his brief and erratic career - he died in 1987). On all of Joni's albums subsequent to Hejira, she was collaborating in real time with other great musicians (Herbie, Mingus, Jaco, Wayne on every studio album since DJRD, and beginning with WTRF, Larry Klein), who no doubt exerted their influence. Joni and Jaco both (and they alone) utilize open strings (although in completely different ways: Joni with her unique tunings, and Jaco, always tuning conventionally, but using harmonics) exploiting the characteristics that make guitars (and basses) unique. The song Hejira, for example, is in the key of BMajor, arguably among the most awkward for piano (or any horns); while somewhat awkward on guitar (tuned conventionally), it's perfect for Joni's tunings (and for open strings on conventionally tuned bass). The structure of the song is so simple, that I can present it below. The chords are almost all straight major triads. The feel of the song is 4/4 all the way, with 4 beats per measure, 4x4 (16) measures per major section, except for the extra two bars in the bridge, that stretch out that part, building up tension, that is never resolved in the bridge. That is why the song has to end on the first part (with "I'm travelling in some vehicle, sitting in some cafe, a defector from these petty wars UNTIL LOVE SUCKS ME BACK THAT WAY") finally resolving on the BMajor chord. intro: C#m9 / D / B / E / Esus E B / B / E / Esus E B / :|repeat to intro last time bridge: E / B / E / F# / / / E / B / F# / E / :|repeat to intro all but last My favorite album of all time: Hejira Joni's best album (IMHO): Hejira My favorite songs: Hejira (off Hejira) and Hejira (T'Log) ------------------------------ End of onlyJMDL Digest V2003 #25 ******************************** ------- Post messages to the list by clicking here: mailto:joni@smoe.org Unsubscribe by clicking here: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe ------- Siquomb, isn't she? (http://www.siquomb.com/siquomb.cfm)